Aaron Keebaugh
Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
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.
Guitarist Aaron Larget-Caplan managed to keep the micro-opera’s crazed figure sympathetic as he blurred the lines between reality and delusion.
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.
In this performance, Blue Heron conveyed enough merriment for Christmastime and beyond.
Pianist Jeremy Denk’s artistry rests in how he explores emotional variance by leaning into the extremes.
Daniil Trifonov’s long-awaited return to Symphony Hall showed that he continues to embody the fullness of the great Russian pianistic legacy.
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.
A concert whose music served as a prayerful elegy for a world spinning out of control.
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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