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The Takács Quartet have won the kind of acclaim that most chamber groups can only dream of, and their concert in Boston made their enviable reputation understandable.
“Hanoi’s War” deserves far more attention than it has thus far received. It enriches our understanding of the War in Vietnam and by implication, subsequent American commitments, including the war in Afghanistan.
Richard Vacca’s The Boston Jazz Chronicles will be a foundational document that other researchers will turn to again and again as they delve into more specific niches of Boston jazz history and unearth as yet unknown artifacts of this era and its neglected body of music.
Isaiah Sheffer’s lasting contribution will be his almost single-handed revival of interest in that most beguiling of fictional forms, the short story.
Why, Rita Costanzi asks incredulously, do harpists, albeit occasionally, marry other harpists: “Does the word masochist mean anything to you?”
The more cerebral visitor may leave “Collision18:present” wondering if, like the classic definition of what constitutes pornography, ‘cyberart’ is firmly situated in the eye of the beholder (or of the curators).
With “In Seven Days,” Thomas Adés seems to have developed a musical language that’s complex yet not forbidding: there’s no sense that his music is weighed down by expectations of the past, even as he freely refers to archaic compositional forms.
The Huntington Theatre Company is hosting an exemplary revival of Harold Pinter’s fascinating 1978 work, thanks to the spot-on direction of Maria Aitken.
Yvan Goll may be the great shape-shifter, the Zelig, of twentieth-century poetry.
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