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Lovers of Baroque opera will want to scoop this one up quickly. I certainly have more respect and affection for Leonardo Vinci, now that I’ve come to know several of his operas.
Night Triptych is an important disc, but also an inviting one that takes you to some fresh places well worth experiencing. Also, another success for harpsichordist Justin Taylor, and a well-earned one at that.
Hopefully, Death Grips can keep finding new ways to convey contemporary dissonance, because as it stands now they have produced four of the most important musical works of the 21st Century.
Despite some interpretive shortcomings, Sean Newhouse, the orchestra’s 30-year-old assistant conductor has solid technique, and a major orchestra whose players, management, and audience believe in him.
There are unplanned moments in this three LP collection, times when the musicians seem to be waiting to hear what is going to happen next. Something exciting usually does come out of their interactions.
The quilts serve as landmarks whose significance is evolving with shifting times and demographics. Where have we come from, they ask. Where are we going? The answers are no longer what they were.
In addition to generalizations about Asian cultures — the voice actors come from a variety of Asian, but not all Southeast Asian, backgrounds — there are other issues a grown-up viewer might object to.
Just in time for Valentine’s Day, Tarrus Riley and his Dean Fraser-led Black Soil Band are touring, and the group is coming to Revere’s Wonderland Ballroom tomorrow.
To mark the hundredth birthday of Charlotte Salomon, who is emerging as one of the 20th century’s great artists, come two fabulous volumes dedicated to her work.
On more than one occasion in The History of Rock ‘n’ Roll in Ten Songs Greil Marcus argues that the original recordings of some of his picks don’t hold a candle to their cover versions.
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