Classical Music
Quatuor Diotima evince a thorough command of György Ligeti’s style, as well as a breathtaking grasp of the demands he makes on the instruments.
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More popular than The Beggar’s Opera, J. F. Lampe’s goofy opera of 1737 receives its first complete recording, and the performance is splendidly, subtly humorous.
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More proof that, with pianist Igor Levit, Beethoven had found new interpreter, not only worthy, but important.
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Pianist Beatrice Rana, joined by the Chamber Orchestra of Europe and conductor Yanick Nézet-Séguin, plays the daylights out of Clara Schumann’s Piano Concerto in A minor.
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Chamber music under Shakespeare’s spell is responsible for one of the high points of the Chameleon Arts Ensemble’s current season.
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Two takes on the orchestral music of Prokofiev — one impish and unpretentious, the other revelatory.
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The program was a delight, especially for those, like this reviewer, who, for years, have yearned to visit Paris again. Aurally, Skylark flew us there.
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Rossini’s one-act opera from 1812 rings fresh changes on a host of comic-opera clichés.
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A new recording of Benjamin Britten’s remarkable 1954 opera packs considerable ghostly punch.
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Here are some recommendations of concerts with hybrid works coming to the Boston area in the months ahead.
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Arts Commentary: Rich in Creativity — But Nothing Else