Classical Music
What I’ll remember most is how the BCE’s various choral pieces seemed custom-made for the Hayden Planetarium’s celestial projections, and how, for an hour, the so-called real world faded away.
May Odyssey Opera continue gracing Boston’s opera scene for seasons to come with such delightful performances as this.
The Commonwealth Lyric Theater has again brought to the fore an underperformed, unfamiliar masterpiece well worth getting to know. Good for them and lucky for us.
Violinist Stefan Jackiw and pianist Anna Polonsky created another Rockport Music evening to remember.
The challenging viola part takes prominence in Shostakovich’s String Quartet no. 13, highlighting an essential yet oft-unsung voice of a string quartet.
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.
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