Classical Music
Thanks to CLT’s pluck and commitment to underperformed repertoire, Boston audiences have the chance to check out the rarely performed opera “Mozart and Salieri” for themselves.
What is perhaps most astonishing is that the Lorelei Ensemble seems, in its current formation, like the most natural of phenomena.
A critic can only wish pianist Sean Chen well in what bodes to be a spectacular career.
Howard Hersh hails from northern California, and, as in John Adams’ “City Noir,” the music on Hersh’s album, “Angels and Watermarks,” embraces polyglot West Coast culture in various ways.
While 1962’s Symphony owes a clear debt to Stravinsky and Britten (especially its last movement), it sounds like nobody but Irving Fine. This is a score that orchestras ought to be lining up to play.
In a world populated by talented pianists, James Brawn is a standout. He’s not just a virtuoso, but also a probing, thoughtful musician with strong, creative programming instincts.
In both appearances here, courtesy of the Celebrity Series, Deborah Voigt was sensational and very likable to boot. This cannot be said of all divas.
At this point, violinist Xiang Yu sounds like a mature artist ready to commence a major career.
Tenor Nicholas Phan and pianist Myra Huang are a superb duo, and the pair’s recital was easily one of the highlights of this year’s concert season.
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