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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.
Cyberspace begins to look like a hostile place for women, as dangerous as a frat party. Females log-on at their peril.
Evaluated as an empathy workout, Trayf never asks us to break a sweat.
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.
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