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An argument for this collection might be that anything anyone writes from prison should be published, since whatever it is, it will inform readers regarding the grim circumstances about two million of our fellow citizens endure everyday, day after day.
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Two discs: Jamaican-American musician Jordan Bak celebrates music for the viola and a reconstruction of Charles Martin Loeffler’s abandoned Octet.
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Semyon Bychkov supplies an extraordinarily well-played account of Mahler’s Third; Paavo Järvi’s version of Mahler’s Fifth avoids the more idiosyncratic excesses of Leonard Bernstein’s superb 1987 Vienna recording.
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Maybe The Zombies are not quite as elaborately visionary as they used to be, but after all this time that is no great sin. And Colin Blunstone and Ron Argent’s breathy but soulful voices have held up magnificently.
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“Concrete Utopia” echoes “Parasite”’s sharp critique of class exploitation, but it applies a faster pace and more restless energy to its vision of economic meltdown.
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This is a quicksilver drama about how a loving couple reacts as devastating bolts of lightning strike.
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Take the poems slowly, enjoy the Cage-y silences, the concentrated words as they appear.
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From intense solo recitals to big band rumbles, Satoko Fujii can not only be counted on for exploratory zeal — she also has the chops to pull off whatever she attempts.
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At a time when a number of established music venues in the Boston area have closed, Club Passim continues to thrive, thanks to the loyal grass-roots support it has enjoyed over six decades.
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Arts Commentary: Getting ‘em in the Door
For the foreseeable, capitalist American future, full and equitable access to live, professional performing arts will depend on subsidy.
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