Charles Villiers Stanford’s bold Mass Via victrix is finally heard; Pablo Heras-Casado wraps up his survey of the Mendelssohn symphonies in high style; Anna Shelest completes her performance of Anton Rubinstein piano concertos.
It is enormous fun to hear how this group of veterans try to think in new ways — as they do throughout this engaging release.
Markus Maskuniitty’s solo debut recording is stunning, Howard Shelley and the Tasmanian Symphony Orchestra play Clara Schumann’s Piano Concerto with zest, and this is one of the strongestNew Year’s Concerts of the decade from the Vienna Philharmonic.
Vince Mendoza’s colorful arrangements give us a welcome new way to appreciate Fred Hersch’s impressive creativity — his amply satisfying accomplishments as a composer.
“Since the late ‘60s I’ve been up and down the Northeast corridor, and Boston’s always one of our favorite stops.”
This month focuses on contemporary country-rap. It’s high time we take note of a fledgling genre on the verge of mass popularity.
The perversity of The Handmaid’s Tale oppressive allegory lends itself well to opera, and Boston Lyric Opera makes the most of the material’s emotional heights and depths.
A landmark concert from 1992 is a chance to rediscover Betty Carter’s greatness, to appreciate again how this artist was special to the very essence of her soul.
The music Nick Waterhouse performs (almost all of which he writes) is consistently retro—not to mention relentlessly danceable and fun.
The final two concerts of the BSO’s season were in the orchestra’s sweet spot.