There was nothing sleepy or commonplace about the ensemble’s performance of favorites by Mozart, Brahms, and Bartók.
Enjoy Boston Camerata’s Free America! for its high spirits and its crafty, delicious way of making the iconoclasm of the past come alive.
Christian Tetzlaff’s brilliant account of Beethoven’s Violin Concerto makes for a great album; Rachel Barton Pine’s versions of Dvorák and Khachaturian violin concertos are songful; orchestrally, Mark Elder and the Hallé Orchestra’s Sigfried is unfailingly colorful and fresh.
To Paradise for Onions is a lovely album; Cincinnati Symphony Orchestra ‘s Transatlantic is spirited; Yannick Nézet-Séguin’s Die Zauberflöte is lost in the crowd.
This is one of the zippiest, most life-affirming opera recordings I have heard in a long time. Well, this puts it a bit too blandly, because the work’s social satire also targets the smug self-satisfaction and careless cruelty of the powerful.
modern world out of control is more perceptive and chilling than ever.
That rarest of Opening Nights: a program that was mostly fun and entertaining, but also substantive and artistically satisfying.
One of Saint-Saëns’s most important operas, Proserpine, has recently been given its world-premiere recording, and the result is a revelation.
Semyon Bychkov and the Czech Philharmonic do justice to a lot of Tchaikovsky’s orchestral music, while John Eliot Gardiner and the London Symphony play Robert Schumann’s famously-dense orchestrations with clarity. But Michael Stern’s account of The Planets completely lacks mystery.
I’ve compiled a list of twelve concerts (or concert series) that I think will stand among the future season’s highlights.