Review
In conductor Christoph von Dohnányi, the BSO has one of its most trusted guests and thoughtful collaborators.
The jam-packed audience for the opening performance of the fiftieth season was filled with Cantata Singers old timers.
The crowd at the Paradise Rock Club was awful, and whether Jake Bugg noticed this or not, it caused him to turn in a pretty mediocre performance.
A wide swath of Belgian and American artists became interested in Courbet’s attention to the humble subject and his distinctive handling of paint. Mapping Realism examines how and whom.
Swiss Stage’s inaugural offering was Dog Paddle (Schwimmen wie Hunde), a domestic comedy based on existential themes, by the German-speaking playwright Reto Finger.
There are hundreds of studies to be analyzed and many experts who could have been interviewed in depth, but both authors have chosen to write breezy books that can be characterized as “journalism-lite.”
It’s hard to grasp how Jonathan Lethem assimilated all this material — historical and fantastic — and gave it new narrative life in Dissident Gardens, except by granting, to start with, his special genius for absorption.
Dramatist Nina Raine probes the complex nature of tribal affinities, delicately examining how precariously communication depends on whether people listen to one another carefully, or not.
If Patrizia Cavalli’s poetry is egocentric, even probably autobiographical, its narrator shows a detachment enabling her to observe herself from one remove, even when she describes herself in the élans of attraction.
For their debut on Sunday, Odyssey Opera and conductor Gil Rose could hardly have picked a more spectacular, unfamiliar epic than they did.
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