Review
Playing side-by-side on two different pianos facing in opposite directions on the Symphony Hall stage, Vikingur Ólafsson and Yuja Wang were as complementary, in a flavorsome way, as lemon and chocolate.
Although novelist Halle Butler portrays the lives of millennial women (and men) as unhappy, anxious, and stressed, she does so in a highly entertaining way.
A lot goes on in an epic — three acts over three hours with two intermissions — and there’s boatloads for Kate Hamill to dramatize and for the audience to digest.
A Boston jazz critic’s notebook — three shows at Regattabar and one at the Lilypad.
Nash Ensemble’s new album captures much of what makes Claude Debussy’s chamber music so fresh and beloved. Orion Weiss’s Arc III is smart, timely programming, dispatched with insight and care.
It is always a pleasure to see Ibsen on stage, but this production of one of his masterpieces is generally humdrum.
Whether he’s playing in the middle, on the edge, or is just flying out on his own, veteran tenor saxophonist Mark Turner reconfirms on these three new releases that he is still finding his own way.
Sir Simon Rattle and Bavarian Radio Symphony Orchestra solve the riddle of Gustav Mahler’s Symphony No. 7. The conductor and the London Symphony Orchestra also offer a refreshingly impish, characterful traversal of music by Kurt Weill.
A hero of his times: celebrating Latvian pioneering documentarian Juris Podnieks.
Cultural Commentary: On the National Arts
There’s nothing benign about what just happened on the banks of the Potomac. Indeed, the president’s move makes history of the most nefarious kind: for the first time, the federal government has hijacked what is supposed to be the nation’s premiere arts institution in an effort to explicitly censor voices and viewpoints it deems undesirable.
Read More about Cultural Commentary: On the National Arts