Susan Miron
April is an unusually excellent month for Boston Symphony Orchestra concerts — a promisng match up of programs and conductors.
Chameleon Arts Ensemble’s program, “into unison with romantic spirit,” contained more rarities than many chamber music groups perform in a season.
Section by section, Cantata Singers & Ensemble are as good as choral groups get, which in this town of dozens of choruses, says quite a lot.
This month I am simply listing concerts I expect will be great. My pick of the month is the Boston debut of a new Flute, Viola, and Harp trio, starring instrumental superstars Marina Piccinini, Kim Kashkashian, and Sivan Magen.
Ms. Bolden’s goal of evoking wintry climes was achieved because of her choice of pieces and musicians, who performed these compositions so well.
Aside from the intrinsic entertainment value of these operas, they show Ravel in quite a different light than we are used to from his chamber and other orchestral music.
February feels like the ‘New November’: concerts of real interest during the weekdays and too many great concerts during the weekends.
The Anonymous 4 went through their medieval and early Renaissance paces, vibrato-less but historically informed and performed.
Highlights in classical music during January include a visit by the acclaimed cappella group Anonymous Four at the Gardner Museum’s new concert hall, and the Boston Modern Orchestra Project performing “Strange Bedfellows: Unlikely Concertos.”
Most importantly, there were the amazing, booming acoustics of St. Paul’s, which favored the soaring soprano voices that were, for me, the reason to see this excellent ensemble.
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