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By Caldwell Titcomb The operas of Lee Hoiby don’t come around often, but the best known of his seven stage works is Summer and Smoke, based on the play by Tennessee Williams. I still vividly remember the 1952 New York production of the play, which put off-Broadway firmly on the map and elevated the late…
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Playing side-by-side on two different pianos facing in opposite directions on the Symphony Hall stage, Vikingur Ólafsson and Yuja Wang were as complementary, in a flavorsome way, as lemon and chocolate.
Read MoreWinter Sleep is not the cinematic masterpiece so many have been hailing it to be.
Read MoreWhy, Rita Costanzi asks incredulously, do harpists, albeit occasionally, marry other harpists: “Does the word masochist mean anything to you?”
Read MoreAlan Ayckbourn’s Absurd Person Singular is a comedy of total narcissism — belly-laugh jokes accompanied by a cold cruelty.
Read MoreAuld Lang Syne is the kind of poorly made play that withholds important and obvious elements of development in order to score artificial dramatic points late in the action.
Read MoreGus Kaikkonen has shown himself particularly adept at directing period pieces in such a way that they don’t bog down in their period, but convey the life of their own time into our own.
Read MoreThe star of The Easy Way Out is its splendidly quick pacing, which gives it more of the feel of an American film than one would expect.
Read MoreTwo current productions make vivid cases for the strength of Canadian theater.
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Reviews of three superior vocal recordings, featuring baritone Gerald Finley, tenor Ian Bostridge, and baritone Thomas Meglioranza.
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Holiday Commentary: Making Room for the Stranger