Classical Music
On his third recording of Benjamin Britten’s three solo cello suites, the Dutch cellist brings lucid intensity to their knotty arguments and haunting lyricism.
Rebekah Heller’s new album celebrates the instrument’s power, agility, and surprising expressive breadth.
A spirited recording, led by two outstanding sopranos, makes a persuasive case for the earliest surviving opera by a Black American composer—and for its long-neglected creator.
ECM New Series’ reissue of the composer’s seminal early recordings restores their bite, rigor, and uncommon spiritual warmth.
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.
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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