Habib Azar – Press Home » Artists » Directors » Habib Azar » Press back to artist page Reviews Live at Lincoln Center via BroadwayHD‘Pipeline’ Review: Facing a Future Behind Bars by Terry Teachout The Wall Street JournalSeptember 10, 2020“A play of colossal force, acted to perfection by an ensemble cast that has no weak links whatsoever…Further credit, however, goes to Habib Azar, who directed Ms. Blain-Cruz’s staging for the screen with unobtrusive virtuosity.” Read Full Article Articles From Soap Operas To Symphony Streams, This Director Has Been ‘Bonkers’ Busy Filming The BSO During The Pandemic by Andrea Shea WBUR The ARTeryMarch 25, 2021“Watching a socially-distanced BSO through Azar’s lens is a kinetic experience, even though the musicians are seated. Long shots swoop down towards the stage from the hall’s rear balcony. The camera cuts to face music director Andris Nelsons gesticulating at the podium, which provides a rare glimpse of his face; in normal times the audience can only see his back while he conducts. Then the violin section fills the frame. On to the cellos. Next the trumpets. Sometimes we’re just feet away from the bassoon players, so close-up we can see their agile fingers and lips in action.” Read Full Article
Live at Lincoln Center via BroadwayHD‘Pipeline’ Review: Facing a Future Behind Bars by Terry Teachout The Wall Street JournalSeptember 10, 2020“A play of colossal force, acted to perfection by an ensemble cast that has no weak links whatsoever…Further credit, however, goes to Habib Azar, who directed Ms. Blain-Cruz’s staging for the screen with unobtrusive virtuosity.” Read Full Article
From Soap Operas To Symphony Streams, This Director Has Been ‘Bonkers’ Busy Filming The BSO During The Pandemic by Andrea Shea WBUR The ARTeryMarch 25, 2021“Watching a socially-distanced BSO through Azar’s lens is a kinetic experience, even though the musicians are seated. Long shots swoop down towards the stage from the hall’s rear balcony. The camera cuts to face music director Andris Nelsons gesticulating at the podium, which provides a rare glimpse of his face; in normal times the audience can only see his back while he conducts. Then the violin section fills the frame. On to the cellos. Next the trumpets. Sometimes we’re just feet away from the bassoon players, so close-up we can see their agile fingers and lips in action.” Read Full Article