Jonathan Blumhofer
To say that Odyssey Opera continues to set the bar for opera performances in Boston may be a bit superfluous, but it’s true.
Read MoreA series of new and recent recordings by Boston orchestras demonstrate that, in the right hands, symphonic music since 1945 remains alive and well, still powerful, fresh, and vibrant.
Read MoreTaken together, it’s a bracing, provocative, and – perhaps above all – fun survey of music for the stage from, for England, the conspicuously abundant 20th century.
Read MoreRadius Ensemble’s final performance of the season touched on examples of musical fantasy, worldly angst, and spiritual transcendence.
Read MoreThere was new music, of which Nelsons’s an uncommonly gifted interpreter; old music that mostly sounded lively; and a big, loud, late-Romantic warhorse that let him and the BSO show off.
Read MoreSaturday’s was the most electrifying, exciting, spontaneous-sounding, inevitable performance of this warhorse (Beethoven’s Violin Concerto) I’ve heard.
Read MoreAscending Light is, by far, the most serious orchestral score of Gandolfi’s I’ve heard and it succeeds to a considerable extent thanks to its expressive honesty.
Read MoreNew England’s oldest continuously-active opera company brings to Boston a rare performance of one of Tchaikovsky’s less-familiar operatic scores.
Read MorePianist Simone Dinnerstein’s new album, Broadway-Lafayette, features her on three pieces, all written since 1924, that celebrate musical ties between France and the United States.
Read More
Classical Music Commentary: On Andris Nelsons’ First Season in Boston and a Look Ahead at 2015-16
By the end of Andris Nelsons’s inaugural season he had the BSO playing with lots of energy and like they really care, night in and out.
Read More