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There’s much to admire and appreciate about this MRT production; but the play’s lack of a solid dramatic spine is a crippling problem.
Music lovers should seize this rare opportunity to see Beethoven’s first (1805) version of Fidelio, complete with a reconstruction of Florestan’s original aria.
Given Dickens’ penny-a-word driven verbosity and his fondness for resolving every plot point with a flurry of coincidences, adapter McEleney seems undecided: is this history play a tragedy or a farce?
At 70, Marcia Ball is a non-stop pro, particularly at pacing. Early barn burners gave way to the slow blues of “Just Kiss Me.”
The relative infrequency of big Berio releases makes new recordings of his major works into significant, contemporary music events; Dennis Russell Davies’ new recording of Bernstein’s Mass is done in by lax vocals and a paucity of emotional consistency; Riccardo Muti and the Chicago Symphony Orchestra supply a great Shostakovich Thirteenth Symphony.
For the second straight year, the Art Fuse podcast — Short Fuse — has been named a finalist for the Somerville Media Center’s Best Boston Free Podcast of the Year Award!
Circles Around the Sun has established a distinctive niche within the expanding universe of “Grateful Dead as genre,” appealing to the core audience for Dead music without having to pull songs from the group’s songbook.
Perhaps the book’s most impressive accomplishment is to make a kind of systematic case for Leonard Bernstein’s larger compositional output.
Cheryl McMahon is quietly spectacular as Ida, who tries desperately to conceal her cognitive decline behind a wall of egocentric cheerfulness that borders on the frantic.
Visual Arts Commentary: Museums are Getting Woke for Real
By digging deep into Thomas McKeller, the Gardner Museum has not only resurrected a lost figure (and lost music, and “lost” art) but revealed and contributed to an ongoing history.
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