Aaron Keebaugh
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.
Ten years on, Andris Nelsons’s retains his remarkable gifts for expressing the raw power of music with dazzling panache.
Performances of such zest and sensitivity deserve to be rewarded with rapt enthusiasm, even love.
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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