Review
Get Out owes much to the small but precious film genre that dares to cultivate bizarre and hip satire.
Olivia Kate Cerrone tells this story in raw, blunt terms, in a naturalistic mode worthy of Zola.
The Boston Conservatory production of Mass was mostly frustrating, but Leonard Bernstein’s score came across very strongly.
A welcome triumph for Hyperion, Bruch, and the Nash Ensemble, but the Oregon Symphony does not do right by Haydn.
The fiery excellence of Handel and Haydn Society’s collective effort made Monteverdi’s epic masterpiece sparkle like a star.
The script softens up the issue of patriarchal authoritarianism by plugging it into a family comedy structure.
temping is a strange and experimental beast, and I look forward to seeing where this type of interactive experience goes next.
For terrific viola playing and some fresh repertoire by familiar names, look no further than Antoine Tamestit’s Bel Canto.
A journal that is part travelogue, part music history, and part meditation on the evolution of our culture through the often-bloodshot eyes of one man.
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