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Performances of such zest and sensitivity deserve to be rewarded with rapt enthusiasm, even love.
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Cockeyed anecdotes roam merrily through a satiric tale set in an East Germany that’s too larky to be oppressive.
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Now in its 18th season, the membership of the Worcester Chamber Music Society has remained remarkably consistent, boasting a number of familiar faces from Boston’s chamber music and orchestral scenes.
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Valerie Duff’s polished style is thoughtful and observant, her fluent voice compressed and controlled. She constructs meticulous lines with (to borrow one of her phrases from these pages) a “stonecutter’s precision.”
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Big band leader Arturo O’Farrill points out that “Santiago Brooklyn Santiago” makes a forceful argument that the embargo between Cuba and the United States should be done away with.
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In “Fat Ham,” Black pain and repressed desire are transformed into a celebration of liberation and empowerment — once the villain du jour, the patriarchy, has been dispatched.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Less is more in Wes Anderson’s adaptation of Roald Dahl’s “The Wonderful Story of Henry Sugar”.
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The bottom line: the Tedeschi Trucks Band proved that the group, and its hybrid of classic rock, soul, blues, and jazz, could rule on arena stages.
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Jazz Commentary: Four Recent Composer-Driven Jazz Releases — New Wine in New Bottles
Four recent releases illustrate what can happen when the only limits are the imagination of the composer and the passion of the performers.
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