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Merriweather, however, certainly deserves a chance to prove himself. Though he has the unenviable job of following Winehouse and Adele out of Ronson’s stable, if each song is left to stand on its own merits, Merriweather’s work proves to be exactly what he was presumably trying to deliver: a collection of good-to-great soul-pop songs. It’s a hit-or-miss endeavor, but Merriweather hits more than he misses...
...release of Google Buzz hit Harvard hard and left a dizzying amount of praise, criticism, and even a lawsuit in its wake. Here’s a recap of what we've been saying about this latest social networking tool...
...instrumental talents in the show are also not to be missed, as the orchestra boxes on the right and left sides of the stage contain a single bongo drummer in each, thus engaging the space beyond the main stage with the work’s pounding African heartbeat. The orchestra is best appreciated on intensely percussive numbers like the sinister song “Be Prepared,” and in brief, yet beautiful interludes which usually accompany transitional movement scenes...
...being in the concert hall rather than listening to a recording is in catching the gleeful brio Levine exudes. Sitting rather than standing at the podium (due to well-chronicled health problems over the past four years), he swivels fluidly back and forth like a six-year old left alone in a big office chair, dancing his feet across a wooden support bar like some frenetic organist pedaling a Reger fugue. Occasionally, you could hear him calling “Dyet! Dyet! Dyet!” in the syncopated passages of the first movement of the “Eroica?...
...sustaining the canon with its mission to discover and promote new works in the classical tradition, it becomes all the more pressing that repertory concerts speak with the same immediacy and freshness as “new music” performances if there is to be any audience left...