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“The Past is Still Alive” hones Alynda Segarra’s songs to an accessible Americana that allows their travelogue-tinged tales to nestle in ways both literal and metaphorical. It’s one of the best records of the nascent new year.
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The Disco Biscuits improvisations are not driven by a guitar-rock root: they are more apt to dive into a piece of classical music and then ease into a propulsive dance-club beat that eventually swerves into Zappa-style brainy grime.
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Some may continue to lament the (supposed) dearth of opera in Boston, but an honest look at these enterprising companies suggest that vivid stories are being told with invention and economy.
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Russian satirist Vladimir Sorokin’s excremental vision triumphs in two new translations.
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As in her previous thrillers, Donna Raybourn’s dry wit serves double duty: defining our erudite heroine and presenting her view of a world that does not know what to make of her.
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Sofia Vergara’s performance as drug queenpin Griselda Blanco, in the limited series “Griselda,” is no less than career-defining and unforgettable.
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The album’s layers of thick and swampy sound make Kim Gordon’s anxious point.
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With Egyptian-born Amina Edris in the title role, Massenet’s opera engages the musical and theatrical imagination with its rich characterizations of Greek mythic adventures.
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Conductor Benjamin Zander put the Boston Philharmonic Youth Orchestra to challenging work at Symphony Hall, while, on record, Isabelle Faust delivers a vital, urgent, and engrossing traversal of the Britten Violin Concerto.
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This week’s poem: J.D. Scrimgeour’s “Some Questions for the Chinese Character”
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