Aaron Keebaugh
The only serious flaw in Boston Lyric Opera’s stripped-down staging approach to Aida was that not all the participants were quite up to the organization’s usual standards.
Among Artistic Director Holly Druckman’s goals is to turn Cappella Clausura into a “very serious player in the Boston early-music-new music scene.”
The performance of the Jerusalem Quartet was marked by considerable poise, polish, and personality.
It’s a rare treat to hear these three Francis Poulenc sonatas on a single program.
The Boston Chamber Music Society’s greatest strengths lay in its skill in letting the music breathe.
It is only a month into the current season, and the Boston Symphony Orchestra has offered three pieces that have either been heard for the first time in Symphony Hall or given that more rare honor that evades most premieres — the deuxième performance.
By Aaron Keebaugh The opera’s libretto moves back and forth fluently between Fannie Lou Hamer’s childhood years to her later struggles serving the cause of racial justice. On June 1, 1865, in front of a large crowd gathered at New York’s Cooper Union, Frederick Douglass gave a eulogy for Abraham Lincoln. The president had been…
Performing with the Boston Landmarks Orchestra, dynamic Canadian violinist Adrian Anantawan made music by Piazzolla and Florence Price burn blue hot.
Conductor Christopher Wilkins and Boston Landmarks Orchestra routinely present serious, challenging programs: but there is always room left for some partying.
Concert Review: Horizon Ensemble Ushers in a Festive Autumn
There wasn’t much autumnal despondency in this Horizon Ensemble program; it was dedicated to the upside of the season, an invitation to enjoy all its warmth, friendship, and festivity.
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