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Agrippina (1709), an enormous hit at the Met this past season, proves, by turns, gripping, sardonic, and exquisite.
Here’s yet one more fantastic thing about it no longer being 2020: it’s now the 50th anniversary of the excellent music that premiered in 1971.
An Arts Fuse regular feature: the arts on stamps of the world.
Dominique Eade’s two greatest gifts are her clarity of musical thought and her courage as an improviser. She does not try to be a cabaret-style interpreter or a ring-a-ding-ding swinger.
The painter Albert Pinkham Ryder points a way towards materials, not just as a means or a substrate, but as a phenomenology, as a basis for a reflective life.
The second recording of William Alwyn’s searing opera confirms the work’s vitality and importance. It is one of the best and most accessible operas to have been written in the past few decades.
There will be a public celebration of Margaret Weigel’s life on December 9 at Medford’s Chevalier Theater.
Magrelli’s is a reserved, critical intelligence, and his poems do not issue from a position of knowledge, but rather from a doubt that stands, and dances, slowly on a profound respect for ambiguity.
Whenever there is a choice to be made between meaning and melody, the translator tends to opt for the latter.
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