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Violist Timothy Ridout’s new double-album “A Lionel Tertis Celebration” is heartily recommended; soprano Asmik Grigorian’s “Laws of Solitude” not so much.
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This is a small show, only 18 pieces, but each drew me into thinking about what I was seeing and, simultaneously, how the artist made it.
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“Drive-Away Dolls” is the worst Coen brother movie ever made.
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“Wheatley at 250” poignantly responds to the poet’s voice and experiences in order to help us understand ourselves in the 21st century.
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Cat Power transformed Dylan’s songs across a 90-minute set that appeared organically studied, slightly unsettled, and ultimately sublime, as the singer rode the arc from a shadowy “She Belongs to Me” to an exultant “Like a Rolling Stone.”
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“Drums & Demons” is at times frustratingly unclear on dates, but its research is comprehensive about the brilliant career and disasterous end of drummer Jim Gordon.
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For a light-hearted take on some serious issues, “Waiting for Al Gore” delivers.
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“Lisa Frankenstein” is the first delightful surprise of 2024, destined for weird girl slumber party greatness in a few years time.
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The plight of refugees is given a fairy-tale treatment in “Io Capitano.”
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The performance conveyed the essence of the Du Bois Orchestra’s mission: when played with exuberance, long-neglected and little-played works can generate as much excitement as they do wonder that they were ever overlooked.
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