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“Leopoldstadt” is one of Tom Stoppard’s most heartfelt and expansive works, its poignant storyline inspired by events in his own life.
Read MoreRobert Ingersoll is all but unknown in our time. Susan Jacoby sets out to answer why. One answer she proposes is that it was generally assumed that the reactionary expressions of religion Ingersoll contended against would simply fade away over time, to be replaced by education, broader culture and scientific reason.
Read MoreSurprisingly, the 17th- and 18th-century drawings and prints in “Pastoral on Paper” proffer bold experiments in charcoal, chalk, and gouache.
Read MoreConcert Review: Ticket to Park — Johnny A Plays the British Invasion Songbook at the Tupelo Drive-In
A by-the-carload ticket gets you a spot in the Tupelo Music Hall parking lot and an empty space next to it.
Read MoreGiven the power, glory, and fun the Boston Babydolls supply with their burlesque routines — pasties and nipple tassels whirl with furious aplomb — the lack of spooky payoff in “The Wrathskellar” amounts to a minor drawback.
Read MoreMoppa Elliott is an important jazz composer and a dynamic leader. When he brings a group to our area (which happens only rarely), do not miss the gig. When he issues a new recording, pay attention.
Read MoreNice Fish serves up a deliciously droll brand of American existentialism.
Read MoreSibelius’s Violin Concerto is almost something of a phenomenon now: in just eight months, I’ve heard it played by three different fiddlers — Baiba Skride, Lisa Batiashvili, and Inmo Yang.
Read MoreThe Lyric Stage production of Anna Christie does right by Eugene O’Neill’s brilliance.
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Rethinking the Repertoire #5: Leonard Bernstein’s “Songfest”
Bernstein’s Songfest is Exhibit A in the argument that American orchestras and conductors need to champion the music of these shores.
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