Classical Music
On its Cantaloupe Music debut, Phaedra Ensemble enters Monk’s strange, haunting sound world—where strings, reeds, voices, and silence dissolve familiar ideas of classical music.
Rossini’s epic arrives at the Emerson Colonial Theatre in a visually audacious, musically potent production that turns a familiar liberation story into a contemporary warning.
Simone Dinnerstein and A Far Cry brought warmth, virtuosity, and strikingly inventive instrumental color to an expanded version of Bach’s keyboard masterpiece at Jordan Hall.
With Yo-Yo Ma and Emanuel Ax on hand—and an audience that repeatedly, rapturously made its feelings known—the Boston Symphony Orchestra’s opening weekend served as both a musical showcase and a public tribute to its departing music director.
Christopher Nolan’s high-tech Homer struggles to achieve epic grandeur; Fritz Lang’s “Die Nibelungen,” with its stylized images and Gottfried Huppertz’s symphonic score, shows what modern spectacle leaves behind.
His threatened destruction of the nation’s living memorial to John F. Kennedy exposes not merely an assault on a building, but the petty authoritarianism, civic vandalism, and cultural contempt driving his presidency.
With Matthew Hagle at the piano and a storied 1742 Guarneri in hand, violinist Pine found both familial warmth and dramatic urgency in three Brahms sonatas.
Claire Chase and her collaborators make a persuasive, vivifying case for Terry Riley’s hourlong score of freewheeling fantasy, grief, birdsong, and release.
The Rhode Island Philharmonic will perform the world premiere of a new work shaped by a New Year’s Eve encounter with Ukrainian refugees—and the consoling force of “Amazing Grace.”
Concert Review: Yo-Yo Ma Elevates a Dispiriting Boston Symphony Orchestra Opening Night
The BSO avoided a strike and greeted its music director warmly, but an oddly programmed opening night culminated in a deeply disappointing Brahms Fourth.
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