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This “serenata” (or chamber opera) with characters from Graeco-Roman mythology receives an elegant world-premiere recording that may bring a major composer out from the shadows.
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I wrote last week that the best films at the Tribeca Film Festival tended to be documentaries. Then I saw a scripted German film that turned out to be an exception.
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The clamor to do justice to 1972 did not cease, so here are salutes to four additional films, The Getaway, Last House on the Left, The Discreet Charm of the Bourgeoisie, and What’s Up Doc?.
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Dance Fever is one of the few pandemic-themed artworks that doesn’t feel contrived — it is specific about the value of music to the individual and by extension to the community.
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What could have been a fantastic twenty-minute short becomes a tedious slog as a stretched-out feature.
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Just after Covid arrived in North America, journalist Helen Epstein was diagnosed with endometrial cancer — one of a predicted 66,570 new cases of cancer of the uterine body in the United States in 2021.
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Big Thief is a largely somber folk-rock outfit fronted by introspective singer/songwriter Adrianne Lenker that doesn’t care much about showmanship.
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Donbass is a powerfully gritty portrayal of thuggish aggression by people who felt empowered, with Russian support, to steal from, torment, and kill their neighbors.
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Raida Adon rejects political categories because they fail to capture the utter strangeness of lived experience.
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In Lowell, America played to a packed, enthusiastic, Centrum Silver-popping crowd who sang along with the band’s impressively deep roster of hits.
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Arts Remembrance: In Memoriam — Tom Stoppard