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This new recording would be a great, and inexpensive, way to enter the sound world of Rossini’s mature operas.
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I can still feel the exhilaration, the rush of the opening of things, from that day.
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Ruben Östlund is a richly talented filmmaker who puts the world of outrageous privilege in his cross hairs.
Read MorePulitzer prize-winning dramatist Robert Schenkkan is chained to a dreary, fact-driven approach in “All the Way,” tossing in bits and pieces of “what if” for unconvincing dramatic effect.
Read MoreThere was more than one reference to Alvin Ailey himself in Odetta, recalling Ailey’s frequent use of a female protagonist and his choices of other noted black artists as inspiration.
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The Sum of Us shows how the economic and political powers-that-be have exploited race to split Americans into warring tribes trapped in a zero-sum game fighting for what’s left after the top 1% take 40% of the wealth.
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Christian Tetzlaff’s brilliant account of Beethoven’s Violin Concerto makes for a great album; Rachel Barton Pine’s versions of Dvorák and Khachaturian violin concertos are songful; orchestrally, Mark Elder and the Hallé Orchestra’s Sigfried is unfailingly colorful and fresh.
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Jack Taylor’s world is very much our world and his despair is our despair.
Read MoreMilo is a young rapper who is not afraid to ruminate on the disconcerting resonances of solipsism or on the impenetrability of the writings of Georg Wilhelm Friedrich Hegel.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues