Review
With its Opera Annex productions – presenting unfamiliar operas in unconventional performance spaces – Boston Lyric Opera really seems to have found its niche.
It may seem a bit like overkill, and in many ways it is, but that all depends on your perspective.
The Old Man and The Old Moon is pleasing, but just how theatrically satisfying it is depends on the appeal of ‘magical’ folktales, the kind where anything goes.
Of all the songs ever written about a woman violated by her brother’s ghost after she decapitates him playing croquet, “The Musical Box” remains the best.
Brooke Adams portrays Winnie as the ultimate smiley face; her husband, Tony Shalhoub, is little more than another prop weathering her on-going babble.
Unlike past concerts where Dylan gave what he could but the audience gave nothing back, at the Orpheum Bob seemed to be genuinely enjoying himself on stage.
The prose of Patrick Modiano, this year’s Nobel prizewinner, has a distinctive French style whose directness and grammatical limpidity by no means exclude semantic depth and complexity.
Because of first-rate performances, St. Vincent rises above Hollywood’s standard ‘cranky old man finds love through friendship with needy child’ trope.
Starchitect Renzo Piano and his team did very well given their constraints. It is damn hard to build the right frame for so much abundant beauty.
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