Classical Music
Some may continue to lament the (supposed) dearth of opera in Boston, but an honest look at these enterprising companies suggest that vivid stories are being told with invention and economy.
With Egyptian-born Amina Edris in the title role, Massenet’s opera engages the musical and theatrical imagination with its rich characterizations of Greek mythic adventures.
Conductor Benjamin Zander put the Boston Philharmonic Youth Orchestra to challenging work at Symphony Hall, while, on record, Isabelle Faust delivers a vital, urgent, and engrossing traversal of the Britten Violin Concerto.
The Finnish conductor’s welcome return to the Boston Symphony Orchestra heralds the kick-off of a two-week festival of Nordic music.
Mass in D was Ethel Smyth’s first large-scale score and, according to Cappella Clausura conductor Amelia LeClair, the composition expressed her yearning for hope and redemption.
The Boston Philharmonic Orchestra was violinist Liza Ferschtman’s equal partner for much of the performance, imbuing Alban Berg’s dense orchestral writing with warmth and shapeliness
Kellen Gray and the Royal Scottish National Orchestra continue its mission of bringing vital music to life; the Neave Trio releases an album of gems, a survey of piano trios by four women.
Pianist Yunchan Lim struck an arresting balance between thunderous drama and filigreed lyricism as he tackled Rachmaninoff’s knuckle-busting score.
Franz Peter Zimmermann’s rendition of Stravinsky’s Violin Concerto overflows with style and character; James Ehnes’ version is generally warmer and more relaxed, though it doesn’t lack for rhythmic zip.
Violist Timothy Ridout’s new double-album “A Lionel Tertis Celebration” is heartily recommended; soprano Asmik Grigorian’s “Laws of Solitude” not so much.
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