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Twenty-one years after she received a Golden Globe for “Europa Europa,” director Agnieszka Holland returns with another uncompromising vision of perseverance and the power of human connection in the worst of times.
An unusual and powerful historical drama that looks at the troubled relationship between Jews and freed slaves at the end of The Civil War.
Ms. Son’s performance of Debussy’s Preludes nos. 3 – 8, while mostly note-perfect, was marked by a tentativeness that kept any of them from really blossoming.
While sound is certainly important, and language in the proper hands has its own music, syllabic harmonies need not be trumpeted as though they were the foundation of good prose.
When the Boston Jewish Music Festival presented a special afternoon of Lazar Weiner’s Yiddish Art Songs, it became clear that it’s time for a reappraisal that will bring these small, intense gems back into broader musical circulation.
In his exploration of history, Jack Beatty suggests that World War I, as we know it, was an improbable event.
When the jazz composer is the soloist, which is usually the case, he or she ironically revives one of the most venerable traditions in classical music.
Jonathan I. Israel has written a monumental three-volume history of the Enlightenment, approximately 2500 pages long, not including three lengthy bibliographies. His erudition is fabulous; his range is dizzying.
A strange mix of characters who all have complicated pasts gives rise to a novel that blossoms — exactly as a flower does — into a complex drama that includes several points of view and a wide range of emotions.
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