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The rarely staged Oberon is easy to love and will fascinate admirers of early nineteenth-century music.
The oft-neglected “other” great opera by Carl Maria von Weber, splendidly performed in 1955 and in remarkably clear and vivid sound. I hope this opera’s day will yet come.
The film’s modulated softness, its moments of quiet heartfelt sorrow, are testaments to a feminism that rejects political anger in order to embrace sisterly compassion.
The Report reminds us that elections can have consequences — after the Republicans take control of the Senate during the Obama era, the Senators who are asking the tough questions are either out of office or in the minority.
George MacKay’s astonishing turn lifts 1917 from pyrotechnical marvel to a shattering emotional experience.
Audiences knew (or at least thought they knew) something was up, and that something was what made these performers unique.
We are seeing some very fine horror these days. You can’t throw a (fire) stick without having it land in some rotting corpse, a spooky cave, or in a serial killer’s cup of coffee.
If this collection has one failing, it is its attempt to make Flannery O’Connor into something she was not: “woke.”
Following the stories of these unique, gifted, and sadly overlooked individuals can be as gripping as the music they made together.
Milo Miles tests a long-held theory: that critic comments on why entries made it onto lists have little or nothing to do with whether readers track down and listen to the selected music.
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