Two new albums from BMOP Sound reflect the considerable artistry and vision of Gil Rose and the Boston Modern Orchestra Project.
A round-up review of new releases from Harmonia Mundi — an invigorating crop of albums.
This Judicial Review deals with the Boston premiere of John Harbison’s opera version of F. Scott Fitzgerald’s novel The Great Gatsby. Read the reactions and join the conversation.
The selection of Andris Nelsons, 34, as the BSO’s next chief is an inspired choice and bold, and not just because of his age.
The return to the standard repertoire, which, since January, has been the orchestra’s primary focus, is safe, unassuming, and (potentially, at least) creatively stifling.
John Harbison’s The Great Gatsby gets its long-overdue Boston premiere, as does Jan Dismas Zelenka’s 1739 Missa Votiva. Handel’s Jephtha returns to the Handel and Haydn Society after a century and a half, and the Walden Chamber Players explore music from Cuba.
Generally in New England we’re outspoken about nearly everything – politics, social issues, sports – so why not the arts?
The Boston Lyric Opera’s production of “The Flying Dutchman” may not the subtlest you will see — the Freudian elements are slathered on pretty thick — but the nervy dramatic concept adds to our understanding of the opera without compromising its core elements.
Next season’s stale programming certainly derives from the BSO’s lack of a music director guiding and shaping the overall course of the season.
Indeed, for much of the latter part of his career, Colin Davis was that rarest of breeds, a conductor seemingly without ego, one who made music simply for the love of it.