Aaron Keebaugh
Pianist Yunchan Lim struck an arresting balance between thunderous drama and filigreed lyricism as he tackled Rachmaninoff’s knuckle-busting score.
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The performance conveyed the essence of the Du Bois Orchestra’s mission: when played with exuberance, long-neglected and little-played works can generate as much excitement as they do wonder that they were ever overlooked.
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Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
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Given its considerable strength and vitality, Ethel Smyth’s music deserves its newfound place in the limelight. Let’s hope the BSO programs more of her music again soon.
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Guitarist Aaron Larget-Caplan managed to keep the micro-opera’s crazed figure sympathetic as he blurred the lines between reality and delusion.
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Hélène Grimaud’s performances of Brahms, Busoni, and Beethoven drew on the strengths of her boldly imaginative powers, which have only deepened over the past two decades.
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In this performance, Blue Heron conveyed enough merriment for Christmastime and beyond.
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Pianist Jeremy Denk’s artistry rests in how he explores emotional variance by leaning into the extremes.
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Daniil Trifonov’s long-awaited return to Symphony Hall showed that he continues to embody the fullness of the great Russian pianistic legacy.
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The Chameleon Arts Ensemble shed new light on Ernest Chausson’s quartet in A major, Op. 30, the very model of Belle Époque verve and melodicism.
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