Review
In the superb “But where is the lamb?,” James Goodman takes up the numerous ramifications, moral and otherwise, of God’s chilling command to sacrifice Isaac and Abraham’s — perhaps more chilling — acquiescence.
Boston Ballet is showcasing a number of its ballerinas in the title role of Cinderella.
The teamwork and chemistry of soprano Natalie Dessay and pianist Philippe Cassard were terrific, each performer delivering the music with great expressiveness and intelligence.
Everyone is a bit more stupid than they need to be in this movie, both the Germans and the Jews.
“The Haunted Life” is little more than an example of the staggering amount of work it takes for a writer to find his voice, a testament to the years of toil Kerouac put in before forging a style all his own.
The five compositions and one de facto suite played at the NEC Winds and Winds Ensemble performance spoke with six different voices and carried six different messages.
Given all the terror and brutality we have lived through just in the thirteen years of this new, 21st century, the story of people running drugs back in the ’70s doesn’t seem to have much urgency.
The point of the Spring Quartet, one assumes, is to showcase its four multi-talented members, particularly their talents as composers.
All the prancing about onstage with planks of wood, actors climbing into eight-foot large puppet skeletons, is marvelous to behold, but it makes for an uneven, confusing production.
If “Salome” was a harbinger for what’s to come, we may be on the cusp of a golden era, indeed.
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