What is surprising is that, along with the extraordinary power of her voice, Jamie Barton’s luminous smile won me over before she sang a note.
Few in the business proffer the same fusion of near-unbelievable chops/technique with an acute musical sensitivity that encourages near-miracles.
J.S. Bach has been subjected to every imaginable kind of transcription, but the combination of mandolin, bass, and cello is probably new.
With an artist as focused and sharp as Danilo Pérez as its musical director, Jazz 100 makes you sit up straight and hang on every note.
Jazz groups of eight to eleven often make fascinating and unusual music, but they rarely survive.
A vital part of Susan Graham’s appeal is her winning personality; she makes a recital hall audience happy to be here before she sings a note.
Those assembled at Boston’s Jordan Hall were thoroughly prepared to be enraptured.
The Spellbound Contemporary Ballet performed the U.S. premiere of Le Quattro Stagioni.
Contemporary dance has no useful definition; maybe we could think of it as an attitude, a constantly changing venture.
I’ve never seen Kurt Elling when he wasn’t in fine voice, and this show was no exception.