Susan Miron
“Once people hear this music they do indeed come back for it – it is pleasing on so many levels: it soars, it soothes, it excites, it transports.”
The Boston Camerata proffers a constant sense of discovery and rediscovery, of unusually lively musicianship and scholarship, and a sprightly sense of the humanity – and the snarly complexity – behind the music it performs.
Pianist Jeremy Denk wields a large artillery of dynamics and colors and it served him well in this performance.
Playing by heart with these three incredible people is the most exhilarating thing I’ve ever done as a musician, and I look forward to many more years of doing this with the Chiara Quartet. — Gregory Beaver of the Chiara String Quartet
For those who missed this evening, pick up Roz Chast’s “Theories of Everything,” which is a wonderfully huge collection of her cartoons published in “The New Yorker.”
From the moment he began to play, pianist Paul Lewis established his authority. His performance was spellbinding and eloquent, animated by a respect for precision and rhythmic clarity.
Green Mountain Project has done everything right, paying careful, historically informed attention to pitch, transposition, tempi, number of performers, and tuning.
Several merits distinguish Blue Heron’s concerts, the most salient being the always-gorgeous singing of this pre-eminent Renaissance vocal choir.
Spirits were lifted; those in need of holiday cheer got a massive dose of it. Bravo to The Boston Camerata and to Les Fleurs des Caraïbes.
The Emerson String Quartet gave its all – beauty, power, fire – in Johannes Brahms’s String Quartet in A minor, Opus 51, no. 2.
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