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In Review

Mark Morris is one of the great innovators of American dance, but his works rarely have what you would call “the shock of the new.” In fact his choreography is so deftly and intuitively attuned to the music that it often has an almost organic feel to it, a naturalness that grows from both musicality and […]

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There are good reasons why Emanuel Ax is held in such high esteem in the American classical scene. He has an innate, “natural” musicality that seems to adapt to any period or style, he plays with extreme delicacy but can also tear into a thunderous fortissimo without banging, and he can “sing” you a melody as if […]

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It’s hard to say which opera is the most popular in the repertoire, but The Barber of Seville certainly ranks among the top five. This wittiest of comedies formed a fitting conclusion to what may have been the Lyric Opera’s most distinguished season so far – its first in the Kauffman Center – and the four originally […]

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Through his invaluable contributions to musical research, as well as his exceedingly mindful approach to performance, Murray Perahia has become one of the most sought-after gentlemen-scholars of the piano in recent years. His considerable gifts include a rarely matched degree of sincerity stemming from a fundamental empathy with the composer’s intent; a consistently warm, mellow, […]

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Aspen Santa Fe Ballet has been called one of the standard-bearers for the future of American dance, and their programs of almost entirely new works suggest that, while ballet remains at the foundation of what we do, dance must continue to explore new territory to keep growing. Their Harriman-Jewell Series program on March 31st at the […]

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Midori possesses an exceptional gift for rhetorical expression and soaring melodic lines, and her violin tone is rich and full, never forced, even when she bears down hard. On October 27th at the Folly Theater she and her pianist, Özgür Aydin, were best in Shostakovich’s Sonata, Op. 134, where their inner musical personalities meshed beautifully to convey the composer’s […]

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Sure The Barber of Seville is a frothy, wry and at times deliciously silly comedy. But it can’t be played as pure farce, says William Theisen, who directs the Lyric Opera’s production opening on April 21st at the Kauffman Center. “These characters cannot be cartoons,” said the director. “You do have a heightened reality here, and certainly Bartolo is very […]

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