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Podcast host Elizabeth Howard talks to the curator who helped conceived of the powerful exhibition “Grief and Grievance,” in which Black artists bear witness to decades of their own challenging experiences.
There’s much to enjoy here and admire, both in the performances and the selections on hand, which hardly dwell on the usual suspects or limit themselves too narrowly.
A singular muscularity infuses these short stories, a confidence that astonishes.
“I really thought that I could sustain a life in music, but perhaps I’d end up in Las Vegas backing Tom Jones or something.”
Richard Thompson’s memoir displays flashes of his writerly talents, but the volume feels a bit less immediate than one might hope.
At this point in his career, Mayr is contributing to the development of the musicodramatic conventions that would set the stage for the masterpieces of Donizetti, Bellini, and Verdi.
1971 gave us bursts of magnificent cinematic iconoclasm that had no future — culturally or politically.
The Catastrophist is an opportunity to begin processing our experience with a pandemic that has fundamentally changed our lives in ways we cannot yet fully comprehend.
We want to hear the music and see the show — so sharpen your pencil and get that dough.
Two albums, from a late master and a newbie, are notable additions to the current wave of introspective solo piano excursions.
Fest Review: IFFBoston Shorts — Part One