Classical Music
Two new albums from BMOP Sound reflect the considerable artistry and vision of Gil Rose and the Boston Modern Orchestra Project.
A round-up review of new releases from Harmonia Mundi — an invigorating crop of albums.
The last Chameleon Arts Ensemble performance of this season, “mystic moons and dream music,” promised much, with three famed masterpieces by Debussy, Stravinsky, and Schoenberg.
This Judicial Review deals with the Boston premiere of John Harbison’s opera version of F. Scott Fitzgerald’s novel The Great Gatsby. Read the reactions and join the conversation.
The idea of house concerts seems to be getting some legs. The “fabulous world headquarters loft of Accurate Records” again plays host, this time to the eclectic San Francisco band, Mercury Falls.
Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
The selection of Andris Nelsons, 34, as the BSO’s next chief is an inspired choice and bold, and not just because of his age.
In the end, the technological snafu probably did more than the musical selections themselves to prove that listening to symphonic music ‘live’ is not a stuffy affair.
The return to the standard repertoire, which, since January, has been the orchestra’s primary focus, is safe, unassuming, and (potentially, at least) creatively stifling.
John Harbison’s The Great Gatsby gets its long-overdue Boston premiere, as does Jan Dismas Zelenka’s 1739 Missa Votiva. Handel’s Jephtha returns to the Handel and Haydn Society after a century and a half, and the Walden Chamber Players explore music from Cuba.
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