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The talent at Club Passim’s Nanci Griffith night represented at least two generations: it was a nice, low-key salute to the singer/songwriter, who played the venue often in the mid-’80s.
A packed, wide-ranging conversation with violinist Anne-Sophie Mutter that touches on several subjects, from a lifelong love of jazz to her verdict on John Williams’ Violin Concerto no. 2.
Are Boston’s stage critics disengaged from reality? Or is it that they are afraid to speak up?
Director Anton Fuqua forgoes his usual action milieu with an unrelentingly tense, highly emotional English language remake of Den skyldige.
Elizabeth Howard talks to Stephen Petronio, choreographer, dancer, and the artistic director of the Stephen Petronio Company, about what plans forward-thinking artists have for the future.
Cry Macho is little more than nostalgia for the Old West of Hollywood.
Some tracks work better than others, but Maya Beiser’s larger effort succeeds in presenting Glass’s music in a more nuanced – and musically complex – light.
Translator Nandana Dev Sen has opened a window for us to savor Bengali women’s poetry through these lovingly translated poems of her mother.
A thoughtfully conceived, technically excellent, beautifully recorded, and expressively rich album that celebrates 20th-century piano music by (mostly) American composers.
Arts Commentary: It’s OK to Like Board Games, Even the Bad Ones
These cheesy board games were repetitive and horrible and I loved every one of them.
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