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Violinist Liza Ferschtman and the Boston Philharmonic Orchestra’s account of Beethoven’s Violin Concerto lacked nothing for momentum and spirit.
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Terrific, fiery playing from George Li, one of the most compelling young pianists on the scene; Mariss Jansons’ recording of Shostakovich’s Tenth trudges from start to finish; irrefutable proof of Andris Nelsons’ excellence as a new-music conductor.
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Tool is going to remain relevant as long as the band can still effectively unleash its nightmare-ish delights for fervid fans.
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When someone recommended to Steven Hassan he write a volume called The Cult of Trump, “it just seemed like the most important book I could write, frankly.”
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Simon Rattle’s Bruckner is, on the whole, lean and lively; if you’re looking for a new Mahler Four, Vladimir Jurowski’s is the one to check out; Thierry Fischer leads performances of each symphony that take Saint-Saëns’ writing seriously.
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Two recent biographies take very different approaches as they revel in the wild lives and examine the distinctive songs of two of rock music’s most enigmatic figures: Lou Reed and Warren Zevon.
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These are two practiced masters at free improvisation. I am confident that many listeners will find them as intriguing and accomplished as I do.
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In the right hands, Shostakovich’s Twelfth can come off as nothing less than an intriguing, lively symphonic essay.
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“You can read Frederick Douglass forever and still just encounter new things, new ideas, new passages, new phrases. He’s that kind of writer. It’s like reading Emerson or even Shakespeare.”
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Gounod was no mere purveyor of gentle sentiments. This 1881 opera, superbly performed, shows plenty of drama and grit.
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