Jonathan Blumhofer
A trio of fine discs: Leonard Bernstein’s music for solo piano, Charlie Chaplin’s songs, and Charles Hubert Hastings Parry’s trios.
Benjamin Zander conducts a conspicuously fine Mahler Nine; François-Xavier Roth’s new account of Mahler’s Symphony no. 3 proffers nothing particularly special.
While the orchestra’s program was almost defiantly canonical, it was played with such lightness and energy that you could forgive its disappointing safeness.
Richard Pittman led the core players of BMV in a confident, evocative reading of the music.
The BSO recently announced an extension to artistic partner Thomas Adès’s contract. It is lucky to have him. So are the rest of us.
Anniversaries are both the bane and the lifeblood of the classical music industry as, for better or worse, three new box sets remind.
Francois-Adrien
Michael Gordon’s score for The Unchanging Sea works better as soundtrack than a concert work; Harmonia mundi releases a DVD of William Kentridge’s powerful staging of Alban Berg’s Wozzeck.
This Sunday’s BPYO concert tied together a number of highly personal strands, presenting music connected to two of conductor Benjamin Zander’s mentors — Benjamin Britten and Gustav Holst.
Arts Commentary: The Boston Symphony’s 2019-20 Season Announcement
The fact is, the BSO’s 2019-20 season doesn’t risk enough and lacks a true spirit of adventure.
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