Classical Music
The performance conveyed the essence of the Du Bois Orchestra’s mission: when played with exuberance, long-neglected and little-played works can generate as much excitement as they do wonder that they were ever overlooked.
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Even without international-caliber singers and players, Giovanni Piaisello’s “Amor vendicato” works much magic.
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Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
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Given its considerable strength and vitality, Ethel Smyth’s music deserves its newfound place in the limelight. Let’s hope the BSO programs more of her music again soon.
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It is always a thrill to be in the audience when the legendary American soprano Renée Fleming performs.
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Guitarist Aaron Larget-Caplan managed to keep the micro-opera’s crazed figure sympathetic as he blurred the lines between reality and delusion.
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Marc-Antoine Charpentier’s 1686 “David and Jonathan” brings ancient characters to life in this 2022 Chateau de Versailles production, brilliantly staged, danced, sung, and played.
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Hélène Grimaud’s performances of Brahms, Busoni, and Beethoven drew on the strengths of her boldly imaginative powers, which have only deepened over the past two decades.
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Carl Nielsen’s vivid biblical opera “Saul & David,” here paired with Helge Bonnén’s remarkable concert adaptation of poems from “Spoon River Anthology.”
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Music Commentary: In Memoriam, Seiji Ozawa (1935-2024)
Taking in the totality of Seiji Ozawa’s life and career, it seems clear that Boston got him in his prime and that he largely returned the favor, ingratiating himself with the community, at times truly elevating the BSO while conveying a lot of joy and energy in the process.
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