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Honestly, the first thought I had when the two-hour Wilco show wrapped up was, when will I see this band again?
The picks in pop music in Boston this month all have something in common: storytelling. How did Deadmau5 get stuck with that 5 at the end of his name? What does a Portuguese acronym have to do with the band CSS? And what does Minus the Bear have against bears?
It is encouraging that the list of recommendations for October isn’t filled with musicals. Are straight plays back? I wouldn’t count on it in this economic climate. So let’s bask in the chance to hear words without music.
October offers an embarrassment of musical riches. The Boston Symphony Orchestra, without a music director, is still putting on impressive programs, including several this month.
In “Delusion,” veteran performance artist Laurie Anderson generates a muted melancholy, sometimes poetic, sometimes poignant, that makes the piece a consistently compelling if not always successful addition to an ambitious body of work.
“South Pacific” endures in this production (and will in others) because it centers on two love stories that are “lovely beyond description.
A Far Cry’s youthful exuberance is no doubt one of the most important keys to its egalitarian vision, but a good share of the credit is due to intelligence, vision, and carefully-honed and finely-tuned musicianship.
The October highlight for Underground Music is the Homegrown Festival. The 3-day gathering runs on the weekend of October 14 and features a lot of local and national acts.
The quality varies at the TWTF, but here is a chance to become aware of rarely done Williams plays. And if a production does not measure up to one’s expectations, the effort will inspire a few sturdy directors to try their own hand at these and other texts of America’s most eloquent poet-playwright.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein