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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.
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.”
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.
There was nothing sleepy or commonplace about the ensemble’s performance of favorites by Mozart, Brahms, and Bartók.
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?
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.
Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.
Parasite’s powerful vision of the existentially downtrodden offers equal nods to Karl Marx and Fyodor Dostoyevsky.
“I wrote those poems because I think people need to read the truth and to hear the truth about romantic sensibilities between gay people.”
Black + White from the Fernanda Ghi Dance Company was provocative, dramatic, and oh-so-mysterious.
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