Classical Music
Boston’s 15-year-old Guerilla Opera releases a recording of a fresh take on the old Grimm Brothers tale, to haunting, ritualistic music for four singers and four players.
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Conductor Klaus Mäkelä may be young, but, on the merits of this set, he sure seems to be the real deal. Buckle up: this ought to be an exciting career.
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This is an album that’s at once musically significant but, more than that, thoroughly enjoyable. How tragic that, largely on account of her race and gender, Florence Price’s music was almost erased.
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A major release by a pianist who, just in his mid-thirties, is already one of the most intelligent and satisfying musicians on the circuit.
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The composer of Cavalleria rusticana brought his sense for characterization and drama to the all-too-plausible tale of a woman victimized by a cad.
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The program is compelling, but some of violinist Yevgeny Kutik’s interpretations could sing more freely and dance more nimbly.
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Tenor Mathias Vidal shines, as does the period-instrument orchestra, in the rarely heard, trimmer version of 1761, on the Chateau’s own new award-winning label.
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Edward Loder’s well-crafted Raymond and Agnes (1855) captures much of the eerie glow of its Gothic model, Matthew Lewis’s once scandalous novel, The Monk.
Read MoreOpera Review: Arabs on the Operatic Stage — Meyerbeer’s 1814 Comic Opera about the Mysterious ‘East’
Long before the often-prejudicial portrayals of Middle Easterners in Hollywood films, opera composers crafted insightful works from 1001 Nights.
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Music Commentary: In Memoriam, George Crumb (1929-2022)
George Crumb, who crafted some of the 20th-century’s most brazenly original-sounding and haunting music, lived his life and guided his career on his own terms.
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