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“The Submission” has been compared to Richard Price’s richly evocative novels of New York life. It’s an apt comparison, though Amy Waldman brings a new cast of characters to bear, members of the Bangladeshi community.
It’s “Mahler Unleashed” month at the New England Conservatory. I heartily recommend all of the “Mahler Unleashed” events.
What makes one opinion better than another? (Some opinions have been challenged more than others. Tested opinions are worth more than untested ones.) Can’t one enjoy an aesthetic experience without having to put it into words? (Absolutely, but those of us who write art criticism don’t have the luxury.)
National Theatre director Bijan Sheibani chose artistry of movement, beautiful as it is, over the battering belittlement of really hard, unappreciated work, the facts of sweat and stupor.
“The Rocky Horror Show” works best when it is immersive like this—a theatrical party that includes the audience.
Given his full-throttle depiction of the myopia of middle class mores, Bruce Norris is more in the flamboyant satiric line of Sinclair Lewis, who also trained his sharp ear and eye on the Midwest, the American heartland, jabbing away at American delusions of community, status, and self-satisfaction.
Portugal. The Man is nothing if not a paradox — the band is nostalgically avant-garde.
As one of the most highly esteemed countertenors in the opera world today, Andreas Scholl did not disappoint, but radiated confidence and sincerity in his interpretations of some of Purcell’s most beautiful music.
Throughout his career, conductor Kurt Masur has focused primarily on conducting the standard German repertoire, and now, at age 84, his mastery and understanding of this music is unmatched.
Exciting things are happening in Israeli writing, and it is garnering considerable attention in Europe. But what about theater in Israel? Israeli Stage offers the curious a chance to see what is happening.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein