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.
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.
More proof that, with pianist Igor Levit, Beethoven had found new interpreter, not only worthy, but important.
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.
Chamber music under Shakespeare’s spell is responsible for one of the high points of the Chameleon Arts Ensemble’s current season.
Two takes on the orchestral music of Prokofiev — one impish and unpretentious, the other revelatory.
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.
Rossini’s one-act opera from 1812 rings fresh changes on a host of comic-opera clichés.
A new recording of Benjamin Britten’s remarkable 1954 opera packs considerable ghostly punch.
Here are some recommendations of concerts with hybrid works coming to the Boston area in the months ahead.
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