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The Arts on Stamps of the World — November 11

November 11, 2017
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An Arts Fuse regular feature: the arts on stamps of the world.

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Jazz Concert Reviews: Mary Halvorson’s Amaryllis and the Mehmet Ali Sanlıkol Quintet at the Regattabar

September 23, 2025
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Gigs by superb bands led by Mary Halvorson and Mehmet Ali Sanlıkol at the Regattabar.

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Book Review: “¡Printing the Revolution! — The Rise and Impact of Chicano Graphics, 1965 to Now”

March 24, 2021
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There’s a looseness, a jagged brio that gives the images in ¡Printing the Revolution! a visual bang — a kind of primal pop.

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CD Review Round-up: Hindemith Sonatas, Montage, Ensemble Epomeo, Vittorio Giannini Chamber music

February 17, 2015
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Evaluations of a number of intriguing new albums, including praise for a disc of string trios by Eastern European composers performed by Ensemble Epomeo.

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Dance Review: Compagnie Hervé Koubi — Looping through the Categories

January 17, 2018
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Performance has always included sex and physicality in its attractions. Koubi’s work tries to move the spectators to a higher level.

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Theater Review: Prometheus Bound — Bound for Glory (Revised 1X)

March 14, 2011
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Bare chested and sweating up a storm, singer Gavin Creel as Prometheus makes for a rock rebel with lots of snarly attitude, defying Zeus’s tyranny by flexing his abs.

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Classical Album Review: Commedia dell’arte Clowns in a World of Heartbreak

December 3, 2020
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Dohnányi and Schnitzler’s “pantomime” The Veil of Pierrette receives its first, and resplendent, recording.

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Concert Preview: Grand Harmonie’s “March Madness”

March 23, 2017
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“We thought, why don’t we hark back to earlier occasions which were equal parts socializing and entertainment?”

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Book Review: “The Jazzmen” — Three Private and Public Lives, Intertwined

May 12, 2024
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In this book, readers are given a full taste of the lives of three complicated musical artists.

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Jazz Album Review: The Vince Guaraldi Trio — “Peanuts” and Beyond

November 9, 2022
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Vince Guaraldi isn’t the heaviest of jazz pianists: he played at a time when McCoy Tyner and Bill Evans were omnipresent. But his tunes, his gently humanist approach to music, meant that he reached listeners that others couldn’t or didn’t.

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