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This is a feminist battle where all participants wear marshmallow boxing gloves.
“We’re at the end, or toward the end, of an extended collapse of the institutions that made it possible for many of us to make a living through intellectual or creative activity. We’ll have to find another way.”
“In a crisis we are all Socialists,” goes an old adage. But can that instinct be trusted in an increasingly barbaric world?
This is an intelligent, inventively performed, be-boppish tribute to a composer I now know better than ever.
Thomas Adès is a formidable pianist and his output for his native instrument is fundamentally gripping; yMusic’s new album is a spectacularly-played and -recorded disc; Michael Gordon’s Anonymous Man is undeniably hypnotic but gets stuck in a loop that goes on for a mite too long.
“We ask that you limit your stay to two hours, and remember that our restrooms are not open.”
The value and virtue of I Belong to Vienna is that it personalizes and humanizes a global reign of terror into an understandable drama.
The anti-cinema, represented by CGI, obliterates perception; it is not interested in tutoring the eye to see more deeply.
François-Xavier Roth and his period ensemble Les Siècles serve up freshness of playing and conviction of interpretation; Manfred Honeck is a conductor who can draw compelling, electrifying accounts of the standard canon as if on cue; the verdict’s mixed on the music of Lithuanian-born composer Mikalojus Čiurlionis.
Television Commentary: Unreeling the Newsreels in “The Plot Against America”
Was this alternate history lesson too much of a downer for viewers weighed down by the burdens of their own unexpected rendezvous with history?
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