Aaron Keebaugh
The Rhode Island Philharmonic will perform the world premiere of a new work shaped by a New Year’s Eve encounter with Ukrainian refugees—and the consoling force of “Amazing Grace.”
A pair of concerts at the Shalin Liu Performance Center paired elegy, bite, and virtuosity in vividly different ensemble settings.
A fierce new cello concerto and adventurous premieres showcase the orchestra’s flair for the elemental.
Pianist Jonathan Biss and the Brentano String Quartet animated Dvořák, Haydn, and Beethoven with emotional urgency and tonal finesse.
A compelling program of Donald Hass, Florence Price, and Brahms reveals ensemble precision and deeply felt musical dialogue.
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.
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…
Reflecting on our divisive politics, BSO music director Andris Nelsons told the concert audience that “Every tunnel has light at the end.”
The performances made one thing clear: what had in Mozart’s day been a failed musical venture now makes for show-stopping pageantry.
Boston Baroque served up a lithe and vital performance of the Messiah that felt rich, personal, and gloriously lived in.
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