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Is it possible that adventurous readers have a better feel for the virtues of this zany, demanding satire than fuddy-duddy critics?
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A noteworthy recording of Ernst von Dohnányi’s Symphony no. 1; as usual, Harry Christophers and the Handel & Haydn Society play Haydn with their customary elegance and character; a celebration of British composer Eric Coates – his music’s impossibly fresh tunefulness, striking progressions, and vividly idiomatic orchestrations.
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But this is an American musical, so political content (and blame for the way things are) must be kept fuzzy, a strategically-calculated myopia.
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This album led me to choose, for a summer project, to listen to all of the music of Janáček — and it has been a complete delight.
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While the push for diversity in casting is admirable, it’s not enough to resuscitate a script that feels dated, even regressive in its approach to historical storytelling.
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Handel & Haydn Society’s Haydn and Mozart is about as good as it gets; Martyn Brabbins’ recording of A Sea Symphony is one of the year’s best releases; and for elegance and technical command, you can’t go wrong with Tilson Thomas and his San Francisco Symphony.
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The Other Side of the Wind may inspire brooding melancholy in some, but it’s also pretty damned fine.
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So, after three original albums (plus a re-imagining of Joni Mitchell’s Blue) that fell short of wide acclaim, perhaps it was only a matter of time for them to think big.
Read MoreFast Company may be light entertainment, but director M. Bevin O’Gara has assembled her own remarkable crew for this breezy caper comedy.
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Poetry Remembrance: John Keats, “The Eve of St. Agnes” — Forever Young at 200
Keats is comfortable in that ambiguous space between reality and the imagination, and you will find no finer example of Romantic poetry when he fuses them in the language of an erotic dream.
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