Classical Music
This first-rate performance highlights the special attractions of the “half-serious” operatic genre.
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.
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.
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.
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.
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.
The program is compelling, but some of violinist Yevgeny Kutik’s interpretations could sing more freely and dance more nimbly.
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.
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.
Cultural Commentary: The Gergiev Case
There are times – and we’ve been living in these for several years now – when boldness is required, especially from artists.
Read More about Cultural Commentary: The Gergiev Case