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The first in what is surely going to be Blue Heron’s memorable series of testaments to the neglected brilliance of composer Johannes Ockeghem.
Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
Another extraordinary evening at Tanglewood. No bones to pick. Just appreciation and delight. At Tanglewood: James Levine conducts BSO and Tanglewood Festival Chorus, John Oliver, Conductor; Hei-Kyung Hong, Soprano; Matthias Goerne, Baritone. (Photo Credit: Hilary Scott) by Helen Epstein It’s time that some cultural reporter with a budget explored what makes the Tanglewood Festival Chorus…
Dave Hanson’s comic confection, Waiting for Waiting for Godot, is generating plenty of giggles in the back room theater at Club Café.
Michael Tilson Thomas proves he’s got Alban Berg’s style in his blood; Pablo Heras-Casado’s Mendelssohn symphony cycle continues to be stylish.
The Cairnes brothers explore how the analog media trickery of a bygone era may illuminate our current obsession with what is real.
One of the most astonishing sets of my week in Montreal featured two Frenchmen, accordionist Vincent Peirani and soprano saxophonist Émile Parisien.
John Wilson and the Sinfonia of London are one of the new decade’s most exciting partnerships; Javier Perianes’ album with the Orchestre de Paris is quite clever; Is Liszt’s music trash? The debate continues.
Open Theatre Project’s Gay Shorts is bold, out, and unafraid.
The Unknown Kerouac is good for the advancement of Kerouac scholarship, but the book hardly justifies, for the average reader, its price and size.
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