Review
“A Precise Chaos” examines, with profundity, intricate human patterns of memory, history, and love, where the personal and the political intertwine and nothing ends cleanly because nothing is ever entirely lost.
Pietro Auletta’s “L’Orazio” (1737), with substitute arias by other composers, gets a first-rate performance from the renowned Valle d’Itria Festival.
Russian composer Dmitri Shostakovich was both a rebel and a conformist, a fascinating hybrid of courage and cowardice.
Ferruccio Busoni’s century-old (or -young) Doktor Faust, inspired by Christopher Marlowe and other pre-Goethe sources, offers a fascinatingly hellish ride.
Phyllis Ewen ponders humanity’s perilous relationship with the earth, expressing her concerns through her artwork.
Redemption awaits “When Fall Is Coming.”
Throughout these bold solo performances, pianist Chick Corea exudes confidence.
Two new picture books offer a refreshing use of not-so-typical endings.
It’s pretty interesting that we live in a moment in which our comic-book obsessed culture is creating a number of antagonists based on the premise of, “Hey, what if Superman were emotionally stunted and really evil?”
Bruno Dumont has always been a divisive filmmaker, drawn to provocation, and the wacky sci-fi parody of the comedy-drama “The Empire” has proven to be no exception.
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