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For its 10th anniversary, the Boston Globe’s documentary festival expanded its cinematic field to a wide variety of genres and subjects.
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Beaux Mendes’ work piques the same interest in us as our information-hunger, set loose from any hope of a ground truth, and the endless searching this provokes.
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The performances on the recording exhibit no conception of Shostakovich’s style – where is this music’s irony and sarcasm, let alone pathos? – not to mention any sense of how to navigate large-scale forms.
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In tracing the tortuous path that established historians took in trying to get to the bottom of the war, Perry Anderson doesn’t acknowledge leftwing observers who knew perfectly well what was going on at the time.
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“Georgia O’Keeffe and Henry Moore” at the MFA builds a case for two artists that many are inclined to think of as “unlikely bedfellows.” Brava!
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Shannon Bowring is a wonderfully wise and compassionate writer, exquisitely alert to the varieties of human experience that exist at the end of the 20th century.
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Not all of Atlanta Symphony Orchestra conductor Nathalie Stutzmann’s ideas about Dvorak’s Ninth Symphony add up, but there is not much to argue with in Czech Philharmonic Orchestra director Semyon Bychkov’s take on Dvorak’s Seventh, Eighth, and Ninth Symphonies.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Filled with B-movie puppet antics, “Frankie Freako” is a joyous throwback to the days where you could walk into a video store and rent one of a dozen Gremlins rip-offs about someone’s mundane suburban life being upended by a bunch of little guys.
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We should be grateful for Ohad Talmor’s wide-ranging curiosity, not only because of the detective work he put into the Ornette Coleman/Lee Konitz recordings, but because of his uniquely varied presentations of these mostly unknown pieces.
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