Classical Music
In its first commercial recording, Frano Parać’s “Judita” wrings compelling drama out of the biblical tale.
Lauded in histories of Broadway but rarely performed, “Love Life” proves to be an insightful and effective work of social criticism, nearly eight decades after its premiere.
“I would say Music for 18 Musicians was probably the most influential piece of American concert music of the last quarter of the 20th century. You could conceivably stretch that to the most influential piece of American concert music since it was written.”
If there’s anything the U.S. needs in 2026, it’s a recovery of Lincolnesque values—resolve, common sense, understanding, and charity. If such a renewal can get some impetus and sense of direction from a new recording, so much the better.
It’s hard to argue that the decision to forge careers as composer-pianists in the teeth of fin de siècle misogyny and rock-set views of musical gender roles wasn’t an act of defiance.
Reflecting on our divisive politics, BSO music director Andris Nelsons told the concert audience that “Every tunnel has light at the end.”
The performances made one thing clear: what had in Mozart’s day been a failed musical venture now makes for show-stopping pageantry.
Boston Baroque served up a lithe and vital performance of the Messiah that felt rich, personal, and gloriously lived in.
Our classical music critics supply their favorites, albums and concerts, from over the past year.
Though none of the works exhibit the stylistic flashiness of Fernande Decruck’s better-known contemporaries, they all suggest a musician of singular—and sometimes idiosyncratic—vision.
Recent Comments