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None of the opera recordings I have reviewed this past year beats this Cradle for dramatic vitality, musical imagination, and ongoing political relevance.
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Charlie’s Good Tonight does a fine job of illuminating Charlie Watts’ personality and paying homage to the drummer’s admirable legacy.
Read MoreUntil now, the powerful economic reality spotlighted by The Arts Factor has generally been ignored or dismissed as anecdotal.
Read MoreThe dazzling LP “Mess” proves that the band Liars has not half-heartedly made the switch to electronic music.
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“We can, of course, be deceived in many ways. We can be deceived by believing what is untrue, but we certainly are also deceived by not believing what is true.” — Søren Kierkegaard
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It would appear that Martin Phillipps and company are experiencing a late-career renaissance that bodes well for their future.
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In this book, Wendy Steiner argues that if we don’t waste, it is very likely that we do not really want.
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Had the curatorial parameters been tighter in concept, and more generous regarding the source of the work, the MFA might have produced a great, rather than just a good, exhibit. .
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The Beats came before the ’60s, the decade of civil rights protests, women’s rights, the anti-war movement, and the civil strife that included riots and assassinations.
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Theater Commentary: “Trumpismo avant la lettre” and the Elliot Norton Awards
Hypnotized by celebrity and the monied class, our stage critics have become a gaggle of cheerleaders, feckless enough to call Diane Paulus a “visionary.”
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