Jonathan Blumhofer
Christian Gerhaher is, perhaps, the great Mahler baritone of his generation, while Bruckner is, perhaps, a surprising choice for conductor Kent Nagano, whose championship of new music is legendary.
It’s a pity Witold Lutoslawski’s music isn’t turning up on more orchestral programs in the U.S. this season and next – Benjamin Britten seems to be the centennial birthday boy of choice.
Despite its drawbacks, “Aleko” is a remarkably satisfying opera and filled with much beautiful music.
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.
Arts Commentary: The Last Laugh — Stephen Colbert, Comedy, and Cultural Resistance