Classical Music
Powder Her Face proved the perfect capstone to Odyssey Opera’s month-long survey of British (mostly comic) opera: biting, darkly humorous, provocative, and relevant.
Marc-André Hamelin, one of the world’s elite pianists, held the packed Shalin Liu Performance Center enthralled.
After experiencing, in seven days, Monteverdi’s three extant operas and his Vespers of 1610, I am in awe of BEMF and everyone associated with it.
The Boston Early Music Festival’s production of Monteverdi’s final opera, L’incoronazione di Poppea, is not to be missed.
Sunday’s performance of Il ritorno d’Ulisse in patria—by a company whose members know each other’s abilities, voices, and personalities well—gave every indication of an extraordinary week ahead.
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.
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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