Classical Music
The Boston Artists Ensemble found the tenderness and understated grace of Robert Schumann’s Piano Trio No. 2.
Classical 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.
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.
Overall, this is a strong program done in by unsatisfying recorded sound.
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.
I know no more thoughtful disquisition, for the opera stage, on basic questions of life, death, war, love, power, and resistance.
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.
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.
Europa Galante is small enough to make touring financially viable, yet large enough to successfully undertake “larger” works in a variety of venues.
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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