Susan Miron
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.
Read MoreGreen Mountain Project has done everything right, paying careful, historically informed attention to pitch, transposition, tempi, number of performers, and tuning.
Read MoreSeveral merits distinguish Blue Heron’s concerts, the most salient being the always-gorgeous singing of this pre-eminent Renaissance vocal choir.
Read MoreSpirits 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.
Read MoreThe Emerson String Quartet gave its all – beauty, power, fire – in Johannes Brahms’s String Quartet in A minor, Opus 51, no. 2.
Read MoreThe tremendous success and rave reviews elicited by this “Orfeo” are due in large part to Boston Early Music Festival’s superb orchestra and cast of eight singers.
Read MoreWhere does such musical maturity and – let’s face it – genius come from? Pianist George Li’s phrasing, the beauty of his sound, his perfect pedaling and expressive rhythm – all were in play.
Read MoreThe Takács Quartet have won the kind of acclaim that most chamber groups can only dream of, and their concert in Boston made their enviable reputation understandable.
Read MoreWhy, Rita Costanzi asks incredulously, do harpists, albeit occasionally, marry other harpists: “Does the word masochist mean anything to you?”
Read MoreTeams of string coaches were deployed to make this quartet of actors look like they knew what they are doing with their instruments, but no critic has noticed how completely unrelated the motions of their left hands — finger placement and vibrato — are to the music that is played, with the exception of Christopher Walken, who looks like he is playing his cello correctly and producing real music.
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