Posts
As a long time arts critic for print, broadcast, and the Web, the potential for cultural coverage online strikes me then and now as exhilarating. The challenge for The Arts Fuse is to foster dialogue that articulates the value of the arts in our lives.
There have been over twenty movie adaptations of H. P. Lovecraft stories, all nearly forgotten. And yet Lovecraft’s sensibility serves as a guide to much of today’s cinema.
A critically acclaimed player in the New York avant-garde scene, Theo Bleckmann is clearly a Kate Bush connoisseur, and his commentary on her work was as compelling as the performances
Auld Lang Syne is the kind of poorly made play that withholds important and obvious elements of development in order to score artificial dramatic points late in the action.
Updated. The year 1962, the terminus of Richard Vacca’s new history of Boston jazz, marked an end to an era. Fifty years later, with the cutbacks in jazz programming at WGBH, are we approaching a similar inflection point?
WGBH is exploring an interesting question — how little can you invest in arts coverage and still have the chutzpah to ask for money from supporters who mistake crumbs for a loaf?
Updated.As many Boston listeners feared, WGBH has put its jazz programming on the road to extinction. What is to be done?
Orango is one of the tantalizing “what might have been’s” of musical history: a biting social commentary on Soviet society on the fifteenth anniversary of the October Revolution, written when Shostakovich was at the height of his musical powers and popularity.
At Land’s Edge is a creepy and wonderful piece of art that will more than likely inspire a mind-altering live experience.
If you’re a Gil Evans devotee, or even a casual appreciator, have I got good news for you: Ryan Truesdell’s Centennial, more than 70 minutes of Evans that we never thought we’d hear, 10 tunes realized so beautifully and brilliantly that they should win a Grammy for Truesdell and a second, posthumous Grammy for Evans.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein