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Review: Musical Middle Eastern diplomacy from Daniel Barenboim's West-Eastern Divan Orchestra in its L.A. debut

The world is angry. There is hardly a leader anywhere whom people don’t consider to be a scoundrel. If you really want to get worked up, look at the Middle East.

Yet, there is Daniel Barenboim’s West-Eastern Divan Orchestra, which made its long-awaited Los Angeles debut at Walt Disney Concert Hall on Sunday night in an extraordinary concert of solutions.

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Review: Martyna Majok's Pulitzer-winning drama 'Cost of Living' has found an ideal home at Fountain Theatre

Two of the best productions this fall have happened at intimate theaters that are keeping up with the exciting developments in American playwriting.

Earlier this season, Branden Jacobs-Jenkins’ “Gloria” was presented by Echo Theater Company in a top-notch production that brought to Los Angeles a recent effort by one of the freshest voices writing for the stage today.

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Critic's Notebook: In two local concerts, Alisa Weilerstein shows why she is the next great cellist

In 2005, a spunky 23-year-old cellist made her debut with the Los Angeles Chamber Orchestra, and the verdict here was: “When she matures, look out.”

Back with the LACO eight years later, the proclamation had become: “She’s matured. She’s a star.”

That was not exactly a surprise. By then, Alisa Weilerstein was already a major soloist and recording artist.

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Review: In 'The Renaissance Nude,' bare skin speaks with startling eloquence
Essential Arts: A director's vision for MOCA, a dance for joy, a John Cage opera

I’m Carolina A. Miranda, staff writer with the Los Angeles Times, with your week’s dose of culture news — including MOCA’s new director, John Cage’s opera and dancing for joy. Stay safe in the fires, folks. They are devastating.


Klaus Biesenbach has taken over as director at Los Angeles’ Museum of Contemporary Art in a period of great turmoil for the museum.

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Review: Tony-winner Jefferson Mays, a virtuoso working solo, brings ‘A Christmas Carol’ back from the dead

Charles Dickens has become so yawningly familiar through adaptations that it can be jolting to experience his storytelling genius directly from the fictional works themselves.

No literary property has suffered more from secondary overexposure than his 1843 novella, “A Christmas Carol,” which has become a staple of holiday programming at theaters across the country.

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