Review
A wonderful new performance of Mahler’s three orchestral song cycles; Daniel Reuss’s account of the oratorio Le Roi David is basically flawless.
Fresh Ink Theatre is to be applauded for taking risks, for daring to mix it all up, for giving audiences a taste of what theater, shelter-skelter version, can be.
The interviewees sound warnings about how we have self-sorted, online and in the real world, into echo-chamber communities of like-minded people.
So now you know: Saddam’s fearsome weapon of mass destruction was a novel.
Violinist Sebastian Bohren’s album is uneven; violinist Isabelle Faust and pianist Alexander Melnikov have produced a wonder.
Nick Payne’s fascinating Constellations takes the cosmic paradoxes of time head on.
Of course, neither saxophonist sounds precisely like Coltrane: there would be no point in trying.
The Model American is a powerful reminder of how deep theatrical pockets can be used to develop deeply significant new work.
A romp in and around a centuries-old Italian convent, acting out a 14th-century story using contemporary American idiom and attitude.
The Beguiled is a beautifully-shot, atmospheric thriller with a daring take on sexual autonomy and dynamics.
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