Aaron Keebaugh
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.
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.
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