Classical Music

Arts Fuse Commentary: Tanglewood 2013 — Less Than What Should Have Been

November 28, 2012
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If the BSO wanted to make a statement about where it might be headed based on the strong artistic results of the current season, it certainly could have. That it didn’t is a missed opportunity and hopefully not a sign of things to come.

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Opera Review: An Outstanding “Orfeo” from Boston Early Music Festival

November 28, 2012
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The tremendous success and rave reviews elicited by this “Orfeo” are due in large part to Boston Early Music Festival’s superb orchestra and cast of eight singers.

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Concert Review: Pianist George Li and Conductor Ben Zander Make Magic

November 22, 2012
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Where does such musical maturity and – let’s face it – genius come from? Pianist George Li’s phrasing, the beauty of his sound, his perfect pedaling and expressive rhythm – all were in play.

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Concert Review: Coro Allegro Performs an Ambitious Program of Stirring “Twentieth-Century Voices”

November 20, 2012
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Coro Allegro successfully delivered the joy, grief, and nostalgia inherent in each of these complex vocal works.

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Fuse Concert Review: The Takács Quartet and Pianist Marc-André Hamelin Beguile With Shostakovich

November 19, 2012
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The Takács Quartet have won the kind of acclaim that most chamber groups can only dream of, and their concert in Boston made their enviable reputation understandable.

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Concert Review: “A Score To Settle” — A Monodrama About A Harpist and Her Seductive Slavedriver

November 17, 2012
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Why, Rita Costanzi asks incredulously, do harpists, albeit occasionally, marry other harpists: “Does the word masochist mean anything to you?”

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Concert Review: Kirill Gerstein and the Boston Symphony Orchestra/Thomas Adés

November 16, 2012
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With “In Seven Days,” Thomas Adés seems to have developed a musical language that’s complex yet not forbidding: there’s no sense that his music is weighed down by expectations of the past, even as he freely refers to archaic compositional forms.

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Movie Review: “A Late Quartet” — Memorably Lovely

November 11, 2012
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Teams of string coaches were deployed to make this quartet of actors look like they knew what they are doing with their instruments, but no critic has noticed how completely unrelated the motions of their left hands — finger placement and vibrato — are to the music that is played, with the exception of Christopher Walken, who looks like he is playing his cello correctly and producing real music.

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Concert Review: Handel and Haydn Society/Bernard Labadie at Symphony Hall

November 11, 2012
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Handel & Haydn Society captured all of this and then some with a vigorous, focused performance that was a marvel of controlled fury.

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Concert Review: Gil Shaham and the Boston Symphony Orchestra/Juanjo Mena

November 6, 2012
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Saariaho’s music is often lush and vibrant, to be sure, but it also can lose track of its musical purpose and meander excessively from time to time. Not so in “Circle Map.”

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