Aaron Keebaugh
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.
Let’s hope composer Tod Machover, Opera of The Future, and the Media Lab have more up their space-age sleeves.
HER | alive.un.dead proves that some stories are best told by trusting the audience’s imagination.
A Far Cry’s program of new and old music revealed that the simplest gestures can generate wonder.
From beginning to end, the Aizuri Quartet’s performance delivered invigorating delights.
Through fresh new works and a welcome toss-up of pieces commissioned during Koussevitzky’s historic tenure, the BSO’s coming season will honor the fullness of the Russian-born conductor’s legacy.
If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
By Aaron Keebaugh Lithe and economical, Boston Baroque’s superb production of Iphigénie en Tauride proved the old adage that less can be more. Iphigénie en Tauride, an opera in four acts. Libretto by Nicolas-François Guillard. Music by Christoph Willibald Gluck. Performed by Boston Baroque. Martin Pearlman, conductor. Mo Zhou, stage director. At GBH’s Calderwood Studio,…
Andris Nelsons has a fine feel for colorful musical canvases, a talent once again displayed in performances of Thierry Escaich’s Cello Concerto and Rachmaninoff’s Symphony No. 2.
Few conductors in Boston have a feel for late Mahler the way Benjamin Zander does.
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