Aaron Keebaugh
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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A concert whose music served as a prayerful elegy for a world spinning out of control.
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The fury H&H’s new artistic director Jonathan Cohen delivered in this performance made “Israel in Egypt” and its timeless story ring with renewed vigor.
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Ten years on, Andris Nelsons’s retains his remarkable gifts for expressing the raw power of music with dazzling panache.
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Performances of such zest and sensitivity deserve to be rewarded with rapt enthusiasm, even love.
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The Boston Lyric Opera’s production was a reminder that Puccini’s score is sure to stand the test of time, even when valiant attempts to make the opera’s storyline more palatable fall short.
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Let’s hope composer Tod Machover, Opera of The Future, and the Media Lab have more up their space-age sleeves.
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HER | alive.un.dead proves that some stories are best told by trusting the audience’s imagination.
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A Far Cry’s program of new and old music revealed that the simplest gestures can generate wonder.
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