Posts
More proof that Offenbach’s is a remarkable body of work; a serviceable, but not particularly notable, Cavalleria rusticana; another installment in the Rossini Project, brilliantly curated, stirringly played and sung, and beautifully recorded.
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This is hard-hitting neo-noir parable whose dark humor delights as it strikes at the corrupt heart of business as usual in Argentina.
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A terrific release showcases the Boston Symphony Orchestra and composer Thomas Adès. Michael Tilson Thomas and the San Francisco Symphony deliver a radiantly honest recording of Aaron Copland’s Symphony 3.
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One thing that gives Marc Maron’s comedy a certain punch is that he is an equal-opportunity crank.
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There’s a story yet to be written about art dumping; theater and dance dumping; even film and TV dumping now that live performance and production of all kinds has shut down.
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Killing Eve is as exciting and compelling as ever. But its narrative structure is becoming somewhat fractured and increasingly odd.
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I’m curious to see what happens next. I’ll keep writing plays, but I might need to hone my skills as a handyman just in case this whole theater thing doesn’t pan out.
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Darkness is pervasive in this Cowboy Junkies album, but it is not all-encompassing.
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Theater is seen as a cleansing illness that sets out to obliterate the illness we blithely accept as health.
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Visual Arts Commentary: The Shock of the Cute — Too Much of a Cute Thing?
What gives with the overbearing presence of cuteness throughout the world of contemporary visual art?
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