Thomas Ades
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
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Conductor and composer Thomas Adès brought more of his intriguing music to Symphony Hall this weekend with two selections from his recent ballet, The Dante Project.
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As the composer moves from youth to middle age, Thomas Adès is unique among his contemporaries for his singular embrace of melody, harmony, and form.
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Seiji Ozawa’s Symphony no. 7 and Leonore Overture no. 3 offers a memorable blend of color, atmosphere, purpose, and soul; François-Xavier Roth and Les Siècles serve up a satisfactory, period-instrument Symphony no. 5; Thomas Adès’ take on Beethoven is concentrated and energetic, if a bit impersonal.
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Evaluations of a smorgasbord of Beethoven symphony recordings.
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Music in Eight Parts is a welcome and inviting addition to the Philip Glass canon; the Summer of Thomas Adès continues with a stirring new recording of the British composer’s keyboard work; Anna Clyne’s Dance is, without a doubt, one of the finest pieces I’ve heard this year.
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Thomas Adès is a formidable pianist and his output for his native instrument is fundamentally gripping; yMusic’s new album is a spectacularly-played and -recorded disc; Michael Gordon’s Anonymous Man is undeniably hypnotic but gets stuck in a loop that goes on for a mite too long.
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A terrific release showcases the Boston Symphony Orchestra and composer Thomas Adès. Michael Tilson Thomas and the San Francisco Symphony deliver a radiantly honest recording of Aaron Copland’s Symphony 3.
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Reviews of three superior vocal recordings, featuring baritone Gerald Finley, tenor Ian Bostridge, and baritone Thomas Meglioranza.
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