Review
If Thursday’s performance of Mahler’s Second Symphony by the Boston Symphony Orchestra and the Tanglewood Festival Chorus was marked by some untidiness, the broad picture to emerge was one of often thrilling, Apollonian grandeur.
Director-writer Alexandre Moors, a Parisian living in New York City, builds a credible narrative story of the killer team in the months before their death spree.
“Return to form” is a little too easy, but if you miss the “old” Travis, then the new album, Where You Stand, is the one you’ve been waiting for.
Gil Rose and the Boston Modern Orchestra Project (BMOP) have been on something of a recording tear of late.
Far From Vietnam dared say what no American documentary, even the most radical, would insinuate for fear of being accused of treason: in Vietnam, the Americans were the new Germans.
With an eclectic visual style that includes animation, and narration spoken with conviction by D.C. native Henry Rollins, The Legend of Cool “Disco” Dan tries to accentuate the positive.
Pulitzer prize-winning dramatist Robert Schenkkan is chained to a dreary, fact-driven approach in “All the Way,” tossing in bits and pieces of “what if” for unconvincing dramatic effect.
A knockout performance from pianist Jeremy Denk, cellist Jan Vogler exudes a strong poetic sensibility, and pianist Hélène Grimaud’s Brahms Concertos are a mixed bag.
I found myself most interested by the fact that so many of the changes that took place at WBCN made absolute sense to me, even if I had an aesthetic beef with them.
While Múm sometimes succumbs to the monotony that’s a predictable risk for chill electronic acts, in Smilewound the group has brought together a set of intricately-crafted folktronic songs that are always enjoyable, and occasionally even breathtaking.
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