Posts
Marc Minkowski’s recording of Jacques Offenbach’s La Périchole pays the composer a handsome tribute in his birthday year; violinist Baiba Skride’s new all-Bartók disc is one of the year’s best.
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Cyberspace begins to look like a hostile place for women, as dangerous as a frat party. Females log-on at their peril.
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Evaluated as an empathy workout, Trayf never asks us to break a sweat.
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The Seattle Symphony does right by Langgaard but not Strauss; Esa-Pekka Salonen’s Beethoven is micromanaged to death; Brandenburgisches Staatsorchester offers an ideal off-the-beaten-path Offenbach disc.
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Liz McQuiston writes that the posters collected in her book are meant to “pay tribute to the liberating concept of hard-won ‘freedom of speech’ throughout history.”
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Among the reviews: a terrific, important release that celebrates one of the most interesting – and hitherto overlooked – composers of the late-19th- and early-20th centuries in style. Don’t miss it.
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There was nothing sleepy or commonplace about the ensemble’s performance of favorites by Mozart, Brahms, and Bartók.
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If Castle Rock is intended to be a commentary on Trump’s not-so-great America, well, what better genre than horror to spread the angst?
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This is a non-union production, and that means the actors are being paid a fraction of what they would be getting if the tour were offering performers a union contract.
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Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.
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Arts Commentary & CD Reviews: On The Kennedy Center, Ben Folds, & Gustav Mahler