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Daniel Carter’s disc revolves, splendidly, around a process of self-discovery.
Brian Phillips uses the essay form to map the limits of America’s cultural-historical imagination, from our highest achievements to our kitschiest expressions of who we think we are, and who we think everyone else is.
As good an interpreter of large-scale forms as he’s becoming, Andris Nelsons has always been a terrific conductor of new music.
One thing I liked so much about this show, besides the mental and physical challenges, was its use of really simple and mundane materials.
New Rep’s production of We Will Not Be Silent is an intelligent and profoundly moving work of theater.
Pianist Daniil Trifonov’s Rachmaninov album is magnificent; the Münchner Rundfunkorchester do right by Franz von Suppé’s overtures, and the Romantic Piano Concerto series continues to unearth gems.
Skylark performed an inventive and highly enjoyable program of music and tales from Norse Mythology and the land of the Vikings.
Driven by vibrant performances and exceptional design work, Murder for Two’s good-natured musical tale of murder makes it an ideal Halloween treat.
Broadway hasn’t seen a play this harrowing yet eminently enjoyable since August: Osage County.
Theater Commentary: Jukebox Musicals — The Trend Continues, Alas
Producers are tapping into a specific demographic: predominantly white audiences that are flush and who crave the thrill of hearing – and seeing – their favorite tunes performed live.
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