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May is inevitably one of the busiest times of year on the Latin, gospel, and R&B concert calendars as promoters hold Mother’s Day’s events and try to lure audiences indoors one last time before the start of summer.
While reading Andre Maurois’ “Climates” you feel your world narrowing in uncomfortable ways.
The return to the standard repertoire, which, since January, has been the orchestra’s primary focus, is safe, unassuming, and (potentially, at least) creatively stifling.
What about Bert Stern, the artist? He deserves credit for bringing fashion photography into the modernist moment in the late 1950s and early 1960s.
In George Balanchine’s Serenade and Symphony in C and in Wayne McGregor’s Chroma, architecture comes to the fore, but not exactly conveying the message that company director Mikko Nissinen seems to have intended.
The first Boston Calling Music Festival, plus Buffalo Tom, Mean Creek, Andrea Gillis, and Math the Band.
Criticism is vital to our time because it is a form of witnessing, testimony to the possibility that the richness and joy of the arts can be articulated in ways that invite intellectual contentiousness in the midst of community.
John Harbison’s The Great Gatsby gets its long-overdue Boston premiere, as does Jan Dismas Zelenka’s 1739 Missa Votiva. Handel’s Jephtha returns to the Handel and Haydn Society after a century and a half, and the Walden Chamber Players explore music from Cuba.
A fantastic film? Not really. “In the House” is sometimes ingenious, but all the main characters are cold, arrogant, and off-putting.
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