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These are tough, feisty, devastating pieces — easily among the 20th century’s finest symphonies — and they receive ferocious readings from Antonio Pappano and the LSO.
Undine is a film best savored (and best absorbed) with a second viewing. Viewers must be open to its charms, perhaps allowing memories of the primal to seep into their consciousness.
As we emerge from the pandemic, Rostam’s Changephobia strikes the right healing notes for fatigued ears.
Songs for a New World grapples with the jumble of emotions prompted by the end of the pandemic, while also serving as a potent reminder of what a joyful experience musical theater can be.
If you’re up for a lofty challenge, the experimental British rock outfit Black Midi is more than poised to fill the void.
The path Dirty Harry (and too many of his defenders, then and now) chose to pursue — the urban policing version of “killing the village in order to save it” — was outdated and discredited even in 1971.
There are stunning scenes full of energy and visual beauty, but Halston left me feeling somewhat cold.
“We can, of course, be deceived in many ways. We can be deceived by believing what is untrue, but we certainly are also deceived by not believing what is true.” — Søren Kierkegaard
Accessible to the art-loving novice, Blake Gopnik’s Warhol suggests that his subject’s marketing genius doesn’t have a time limit.
THE ARTS FUSE TURNS 14! — Our Spring Appeal
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