Classical Music
The Neave Trio’s new album is as well recorded as it is programmed and played.
If there is a through-line consolidating Ian Buruma’s account, it is the admonition: Do not rush to judgment.
In Boston, Leonard Bernstein might have sustained Serge Koussevitzky’s bold adventure—and changed the course of American classical music. Today’s Boston Symphony is adrift
This is one of the most welcome, ear-opening recordings I’ve heard in recent years, easily capable of restoring Ferdinand Hiller to the position he once held as the composer of highly accomplished, enjoyable, and intriguing works.
Last Friday night, conductor Andris Nelsons and the musicians came on stage together wearing red carnations as symbols of solidarity. The applause was immediate and fervent.
This a superb album, smartly programmed and brilliantly played.
By Aaron Keebaugh The Last Savage delivered good tunes, a delightfully twisted story, and all-around cheer. As a librettist, Gian Carlo Menotti held a critical mirror up to society, often probing the psychological fault lines of his operatic targets. Yet, though he would often question what he saw around him, his works, no matter how…
Ultimately—and regardless of one’s take on Andris Nelsons as an artist—it’s hard to see how the institution’s long-term interests are served by last week’s developments.
Steve Reich’s 1976 minimalist masterpiece, performed by Ensemble Signal, was a special event to see and hear live.
Classical Music Commentary: What’s Next for the Boston Symphony? — Lessons from the Past
With today’s Boston Symphony in an uproar, lacking direction, attention should be paid to Henry Higginson, who invented the Boston Symphony. He knew what he was doing. He knew how to scout and hire conductors. He knew what music he wanted played. He knew what the orchestra was for.
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