Classical Music
Reviews of Hélène Grimaud’s latest homage to Clara Schumann and La Tempête investigates seeming stylistic overlaps in the music of J. S. Bach, Henryk Górecki, Jehan Alain, Knut Nystedt, and John Adams.
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Auber’s 1831 “Le Philtre” (“The Love Potion”) is an engaging romp that helped give birth to Donizetti’s “L’elisir d’amore.” Immensely popular in his own day, why isn’t it revived more often?
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The Boston Lyric Opera’s production was a reminder that Puccini’s score is sure to stand the test of time, even when valiant attempts to make the opera’s storyline more palatable fall short.
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A charming rendition of Ravel serves as a perfect foil to the rigors of the Schoenberg, which, tough nut though it remains, here gets just the sort of devoted advocacy it requires.
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This is a Tchaikovsky Fifth that’s thoroughly lived in.
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Marin Marais, memorably enacted by Gérard Depardieu (and his son Guillaume) in the film “Tous les matins du monde,” proves a master of Baroque opera in this splendid recording.
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Let’s hope composer Tod Machover, Opera of The Future, and the Media Lab have more up their space-age sleeves.
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Joseph Bologne, whose mother was a slave in Guadeloupe, proves to be as skillful in vocal-dramatic music as we have long known he was in instrumental works.
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We’re not saying get rid of “Madama Butterfly” We’re saying do a better Butterfly.
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The arrangements seem to emerge organically from the structure and feel of the compositions and harmonies, like leaves unfolding from the stem of an exotic plant.
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