Classical Music
Revelations continue: a composer best known for his sonatas and concertos (the Four Seasons) is a master of vocal music as well.
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The Boston Artists Ensemble found the tenderness and understated grace of Robert Schumann’s Piano Trio No. 2.
Read MoreClassical Concert Review: Radius Ensemble — A Vivid Musical Journey, Filled with Solace and Grandeur
The stormy exuberance of Debussy’s Piano Trio in G major inspired one of the many highlights of this mostly auspicious night.
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This is a strongly-played effort that makes a powerful case for the vitality and worth of Erwin Schulhoff’s oeuvre, particularly his mature chamber music.
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Overall, this is a strong program done in by unsatisfying recorded sound.
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Pianist John Wilson, like his mentor Michael Tilson Thomas, is a servant of the music rather than its dictator and he knows both when and how to step back and let it speak.
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I know no more thoughtful disquisition, for the opera stage, on basic questions of life, death, war, love, power, and resistance.
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As the composer moves from youth to middle age, Thomas Adès is unique among his contemporaries for his singular embrace of melody, harmony, and form.
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Gil Rose’s team, headed by an incandescent Ellie Dehn as Catherine of Aragon, should help bring this major work back to the world’s opera-house stages.
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Classical Critic’s Notebook: Sergei Rachmaninoff’s Symphony No. 2
Whatever Rachmaninoff’s conflicted feelings about writing symphonies were, there’s nothing ambiguous about the content of his Second Symphony. From start to finish, it’s a marvel of melodic freshness and brilliant instrumentation.
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