At the Fogg Museum’s “Corita Kent and the Language of Pop,” author Anita Harris wondered how she could have missed Kent’s amazing presence in the Pop Art scene. She soon found out.
The Metropolitan Opera’s recent announcement that it would produce the “The Death of Klinghoffer” led to a nasty, noisy, public debate focused on charges of antisemitism. Some music journalists reveled in the attention and in the moment of relevance for a 400-year-old form. Cambridge critic Rachel Yurman, however, was incensed by the assault, and embarrassed by what she terms the “willful ignorance of those who ranted while freely admitting that they had never seen the work in question.”