Search Results: quotes
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
Read MoreMoroccan poet Abdellatif Laâbi’s autobiographical fiction draws deeply on his own childhood in Fez during the late 1940s and especially the 1950s.
Read MoreOddly, not everyone is concerned with vampires. A friend tells me he finds them overdone, ornate, weighed down with baroque bells and whistles. His vote goes to zombies. I reply that zombies are one-trick monsters. They don’t even suck, only bite. That, he says, is what he likes about them; they are stripped down, perfect…
Read MoreWhile sound is certainly important, and language in the proper hands has its own music, syllabic harmonies need not be trumpeted as though they were the foundation of good prose.
Read MoreAmbient indie-pop and summery surf sounds take over Boston in the second half of August. By Thomas Samph August 13, Deerhunter at Royale At a Deerhunter show, the sight of frontman Bradford Cox’s skeleton-like figure striding on to the stage through a thick mist (sometimes wearing a dress) is as ethereal and spooky as his…
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No one argues about Israel or Hamas, or even mentions the words. All the same, caring this much about Palestinians’ lives is inherently political.
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NDR Radiophilharmonie and Stanislav Kochanovsky may generate new fans for Tchaikovsky’s four orchestral suites; if you only want to dip your toes in Thomas Adès’ extraordinary music, his own take makes for a worthy introduction.
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The debut album of Decoda, the first – and, so far, only – affiliate ensemble of Carnegie Hall, and a disc featuring a trio of works by two mid-century Chicago-based composers, Florence Price and Leo Sowerby.
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This was a “Resurrection” Symphony for today: urgent and unsettled, yes, but also searching, persevering, and, ultimately, triumphant. If the weekend turns out to have marked conductor Benjamin Zander’s last go-around with this masterpiece, what a way to finish.
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Commentary/Interview: “The Jazz Bubble” — The Arts, Commodified
In what ways are the arts themselves (and our understanding of them) being shaped to serve the ethos of corporate profit-making?
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