Posts
As a legacy sequels “Happy Gilmore 2” one isn’t a hole-in-one, but it doesn’t roll into a sand trap either.
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John Williams’s concert music may be intended to enrich and edify, but there’s always room for a little fandom, particularly on occasions like this. At 93, and after a lifetime of firsts, the composer deserves every accolade.
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Newport Folk Festival will likely never deliver cameos as ground shaking as those in 2022, when stars aligned for Joni Mitchell and Paul Simon to grace separate tributes. But it doesn’t have to, given that there’s so much talent already on site.
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The humanity Mariska Hargitay brings to her quest makes this film about her mother, Jayne Mansfield, much more than a hagiographic profile of a movie star: it is a deeply personal story of reconciliation, love, and family.
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Pianist Yulianna Avdeeva’s recording of Dmitri Shostakovich’s Preludes & Fugues is a testament to that rarest of syntheses: a total identification of a musician with her repertoire. Pianist Marc-André Hamelin and the Takács Quartet release an album that, on so many levels, is simply a joy.
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Music by Amy Beach, Leonard Bernstein, Florence Price, John Harbison, and John Williams: this Boston Landmarks Orchestra concert had a little something for everyone.
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The world-renowned tenor Ivo Židek leads a spirited cast, and reminds us how involving opera can be when sung by native speakers.
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Kiyoshi Kurosawa’s return to form might be explained by his looking backward: the director has chosen to grapple with the fact that many of the pessimistic prophecies of his earlier films have come true.
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What business has a period orchestra got playing the music of Anton Bruckner? And why can’t conductors and orchestras just leave Gustav Holst’s “The Planets” alone?
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Theater Commentary: Boston Fall Theater Preview — Rinse and Repeat and Repeat and Repeat …
My hunch is that not only theater critics but audiences will find the parade of tried and true tiresome.
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