Review
Played and sung with verve in its New England premiere, “Frederick Douglass” stands as the most significant revival BMOP has undertaken in recent years.
How should artists live under autocracy? A Cold War Polish poet doesn’t have good answers, but offers chilling advice.
For those seeking adventure away from cookie-cutter arena rock, Phish still fit the bill.
“Room on the Sea” is impressively crafted and written, but its lack of bite, drive, and action left me restless.
Still, even with its flaws, this short book is an important contribution to literature by and about atomic bomb survivors because it underlines their indispensable value as witnesses.
Pianist Bertrand Chamayou demonstrates just how mercurial and influential Ravel could be; composer-pianist Stephen Hough’s Piano Concerto casts a Ravel-like spell.
As always, the festival supplied some revelations, plus films from countries now prominent in the news.
The whole band demonstrated an expressive variety of mark-making, as visual artists like to say: lines and squiggles and blotches, graceful or rude.
Pianist Stewart Goodyear livens up a tried-and-true program with works new and unfamiliar; the husband-and-wife team of Lukas Geniušas and Anna Geniushene survey piano music written on these shores, starting in 1932.
The skillful Mark Elder leads a fine cast, including the superb Peruvian tenor Iván Ayón-Rivas.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters