For me, a good Messiah is not muddled by Victorian applications of pomp and grandiloquence or weighed-down by its “sacred” subject matter. Nor should it be made into a dry academic exercise, in-line with trends in early music performance and recording that sometimes push for too much “authenticity.” It should try to bring something fresh [...]
-
Recent Posts
- Prove It: Independent Drama Society’s “Proof”
- Sadism at the YMCA: Bad Habit’s “Quills”
- Gabriel Kuttner in the Park: “Fully Committed”
- What the fuck are we doing?: “Winnebago Man”
- Things Aren’t So Grimm at Company One
- Cherry, Oh Baby
- Chanel No. 2: “Coco Chanel & Igor Stravinsky”
- Breaking the Curse: The A.R.T.’s “Johnny Baseball”
- Harold Pinter’s Twisted Love Story: Another Country’s “Betrayal”
- A Really Freaky Friday: The Huntington’s “Prelude to a Kiss”
-
Tagged As:
A.R.T. Andy Warhol Bad Habit Productions Beethoven BMOP Boston Athenæum Boston Playwrights' Theatre BSO BU Central Square Theater classic Hollywood Company One contemporary art Craig Lucas fringe theater George Antheil Harvard HFA holiday shows HRDC Huntington ICA Lyric Stage MFA Mozart multimedia musicals new music Norton Lectures opera Opera Boston Patrick McGoohan Paula Vogel sacred music Shakespeare Shepard Fairey SpeakEasy Stage Stanley Donen Tchaikovsky technology television The Coolidge the novel The Prisoner vocal music
