Classical Music
Performances of such zest and sensitivity deserve to be rewarded with rapt enthusiasm, even love.
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Now in its 18th season, the membership of the Worcester Chamber Music Society has remained remarkably consistent, boasting a number of familiar faces from Boston’s chamber music and orchestral scenes.
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Reviews of Hélène Grimaud’s latest homage to Clara Schumann and La Tempête investigates seeming stylistic overlaps in the music of J. S. Bach, Henryk Górecki, Jehan Alain, Knut Nystedt, and John Adams.
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Auber’s 1831 “Le Philtre” (“The Love Potion”) is an engaging romp that helped give birth to Donizetti’s “L’elisir d’amore.” Immensely popular in his own day, why isn’t it revived more often?
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The Boston Lyric Opera’s production was a reminder that Puccini’s score is sure to stand the test of time, even when valiant attempts to make the opera’s storyline more palatable fall short.
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A charming rendition of Ravel serves as a perfect foil to the rigors of the Schoenberg, which, tough nut though it remains, here gets just the sort of devoted advocacy it requires.
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This is a Tchaikovsky Fifth that’s thoroughly lived in.
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Marin Marais, memorably enacted by Gérard Depardieu (and his son Guillaume) in the film “Tous les matins du monde,” proves a master of Baroque opera in this splendid recording.
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Let’s hope composer Tod Machover, Opera of The Future, and the Media Lab have more up their space-age sleeves.
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Jazz Commentary: Four Recent Composer-Driven Jazz Releases — New Wine in New Bottles
Four recent releases illustrate what can happen when the only limits are the imagination of the composer and the passion of the performers.
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