Featured
The point of the Spring Quartet, one assumes, is to showcase its four multi-talented members, particularly their talents as composers.
All the prancing about onstage with planks of wood, actors climbing into eight-foot large puppet skeletons, is marvelous to behold, but it makes for an uneven, confusing production.
If “Salome” was a harbinger for what’s to come, we may be on the cusp of a golden era, indeed.
Director Wes Anderson’s “The Grand Budapest Hotel” presents a frenzied feast of lavish and preposterous set pieces, performances, and tall tales.
Sometimes using the Twitter handle #itsokKimNovak, at other times just linking to Laura Lipmann’s Facebook page, women – primarily writers and our friends – have started posting our own “raw” photos.
Stephen Hough’s performance of piano works by Brahms and Chopin was enthralling, poetic, and spellbinding.
Quatuor Ébène burst into song. And I think it’s safe to say singing of any kind is almost never heard at a strings-only concert.
“It seems now that quality spreads through reputation — the live show is where we really see bands pull away from the pack. It takes quality now to survive. Strong work.”
As if the Discovery Ensemble’s impressive return after a three-month hiatus weren’t news enough, last week brought the announcement that Courtney Lewis has been appointed assistant conductor of the New York Philharmonic, beginning this fall.
Classical Music Commentary: Boston Symphony Orchestra Season 2014-15 — A Jolt of Energy and Stability
Most of the programs during BSO conductor Andris Nelsons’ ten subscription weeks look fresh and, if not outright adventurous, on paper they at least look more exciting than not.
Read More about Classical Music Commentary: Boston Symphony Orchestra Season 2014-15 — A Jolt of Energy and Stability