Classical Music
In both performances tempos are fleet but not rushed. The big moments – from the hellish apex of the first movement’s development to the screaming climax of the Scherzo and the cathartic resolution of the finale – pack heavy punches.
A marvelous first recording of a highly engaging opera by Baroque composer Bernardo Pasquini, known until recently for a single piece: “The Cuckoo.”
From beginning to end, the Aizuri Quartet’s performance delivered invigorating delights.
From beginning to end, this was a magical concert: beauty, poetry, and yes, unbelievable chops.
If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
By Aaron Keebaugh Lithe and economical, Boston Baroque’s superb production of Iphigénie en Tauride proved the old adage that less can be more. Iphigénie en Tauride, an opera in four acts. Libretto by Nicolas-François Guillard. Music by Christoph Willibald Gluck. Performed by Boston Baroque. Martin Pearlman, conductor. Mo Zhou, stage director. At GBH’s Calderwood Studio,…
Pianist Beatrice Rana has a particular talent for building a line in ways that are both exactingly dynamic and robustly emotional.
Andris Nelsons has a fine feel for colorful musical canvases, a talent once again displayed in performances of Thierry Escaich’s Cello Concerto and Rachmaninoff’s Symphony No. 2.
Few conductors in Boston have a feel for late Mahler the way Benjamin Zander does.
Music Documentary Review: “Music Under the Swastika” — Uncomfortably Timely
The road to ultimate destruction is lined by spiritual apathy, intellectual carelessness, and moral equivalency.
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