Classical Music
To say that Odyssey Opera continues to set the bar for opera performances in Boston may be a bit superfluous, but it’s true.
Much more work could be done fertilizing the fields of cross-cultural music, sowing seeds collected from the great touchstones of American culture – innovation, integration, risk, reward.
A series of new and recent recordings by Boston orchestras demonstrate that, in the right hands, symphonic music since 1945 remains alive and well, still powerful, fresh, and vibrant.
By the end of Andris Nelsons’s inaugural season he had the BSO playing with lots of energy and like they really care, night in and out.
Taken together, it’s a bracing, provocative, and – perhaps above all – fun survey of music for the stage from, for England, the conspicuously abundant 20th century.
I would like to think that there are more composers working today who think of themselves as beyond category.
Radius Ensemble’s final performance of the season touched on examples of musical fantasy, worldly angst, and spiritual transcendence.
Time to look at the maverick mavericks, composers with feet firmly planted on either side of the dividing line between jazz and classical.
What makes pianist Jean-Yves Thibaudet an ideal interpreter of Ravel’s Concerto in G is his understanding of and appreciation for jazz.
Music Commentary: Jazz and the Piano Concerto — A Coda without a Finale
What we know of mass-market choice suggests that the more choices a person has, the more likely it is that the person will be dissatisfied with any one choice.
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