Classical Music
Musicians active in Boston, Washington DC, and Australia discover previously unrecorded gems, including works by women composers and composers of color.
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The world-premiere recording of a first rate production of a brilliant, fantastical opera, unstaged and unheard since 1914.
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The San Francisco Symphony is a model of complexity: tonally warm but texturally clear; rhythmically on edge but never abrasive in character; beautifully blended throughout.
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Manfred Honeck’s one of the finest and most exciting Beethoven conductors around, but his interpretive decisions result in an account of the Ninth’s climactic sequence that comes over as episodic and mannered.
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The VPO’s performance doesn’t want for energy or purpose because of the lack of a crowd. Rather, there seems to be an internal imperative to the ensemble’s music-making that isn’t always apparent at these events.
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One can only hope that Gail Samuel’s hiring means that the BSO’s welcome-but-fitful efforts at expanding its repertoire and engaging the community of late will become central to its post-pandemic mission.
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Two brilliant Israeli pianists have released exceptional musical offerings.
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There’s much to admire in the color, character, and urgency of the Minnesotans’ playing and the overall strong direction from conductor Osmo Vänskä.
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There are some smartly colored and well-handled performances here, but it’s hard to get past the recording’s unsatisfactory acoustics.
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Croatia’s best-known Opera is like The Bartered Bride or a lighter-spirited Porgy and Bess: tuneful, engaging, and stageworthy.
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Arts Commentary: Rich in Creativity — But Nothing Else