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The point of Bob Dylan’s project is emotional rather than definitive: to probe the power of song to influence us, make us feel, and ultimately transform us.
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This is a strongly-played effort that makes a powerful case for the vitality and worth of Erwin Schulhoff’s oeuvre, particularly his mature chamber music.
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Overall, this is a strong program done in by unsatisfying recorded sound.
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Kick the Latch (the title refers to what is done to open the starting gate in a horse race), through its plain and spare authenticity, is a powerful and impressive success.
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Amanda Kramer’s created a thoroughly campy and celebratory ode to queerness that stands as both a timely political statement and a genuinely well-crafted piece of independent filmmaking.
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A wrap-up of the London Film Festival that focuses on two favorites, Inland and The Store.
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Pianist John Wilson, like his mentor Michael Tilson Thomas, is a servant of the music rather than its dictator and he knows both when and how to step back and let it speak.
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I know no more thoughtful disquisition, for the opera stage, on basic questions of life, death, war, love, power, and resistance.
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Love, anger, frustration, hope, sadness, lullabies — they are all here through movement that is at turns elegant and awkward, nuanced and propulsive.
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English makes us consider what it looks like from the other side of our native tongue; from the outside looking in.
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