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The album serves up exceptional stuff, even if the program’s a touch macabre and pianist Orion Weiss’s well-written liner notes make uncomfortable connections between the world of pre-World War 1 Europe and our own pandemic-riddled age.
Two recent albums feature compositions by James MacMillan, one of Europe’s leading composers, as well as an opportunity to hear him conducting.
Director Ben Wheatley has a knack for creating characters whose anti-social behavior is shocking.
A delightful recording — and the first ever! — of arias from Hasse’s and Gluck’s operas about Tigranes and Cleopatra of Pontus. Plus four arias by Vivaldi for that same Cleopatra.
“I want our music to be genre-less. Actually I want it to be genre-more.”
Daniel Kehlmann’s narrative gift is so prodigious as to be almost aggravating.
Whatever else 2024 has in store for queer filmmakers and audiences, there’s likely to be nothing else that’ll put a smile on your face quite like “The People’s Joker.”
This sizzling production of Ain’t Misbehavin’ is one of those one-of-a kind of experiences that we all long for in the theater.
An Arts Fuse regular feature: the arts on stamps of the world.
Classical Music Commentary: Boston Symphony Orchestra Season 2014-15 — A Jolt of Energy and Stability
Most of the programs during BSO conductor Andris Nelsons’ ten subscription weeks look fresh and, if not outright adventurous, on paper they at least look more exciting than not.
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