Classical Music
One might risk hyperbole by saying so, but in this instance such recklessness is worth it: this album sounds like Brahms as he ought to be played and sung.
For Alex Ross, Wagnerism is as profound and far-reaching an aesthetic ideology – for good, ill, and all degrees in between – as any.
Fiddler Daniel Hope’s new all-Schnittke disc with pianist Alexey Botvinov brings with it a level of authority that demands respect.
New podcast host Elizabeth Howard talks to Neal Goren about contemporary opera: the trends, attracting new audiences, and how opera can be adapted for the internet.
Just in time for Passover: another fine world-premiere Rossini recording, the 1827 French version of his Moses-in-Egypt opera.
Violinist Hilary Hahn’s blend of musical curiosity, expressive savvy, and technical excellence doesn’t often appear in one person.
These two performances showcase a group of instrumentalists whose collective musicianship is electrifying: full of just the right combination of wonder, play, and discovery this much-loved repertoire needs in order to sound fresh and truly come to life.
Performed 1600 times in Paris, then forgotten, Hérold’s brilliantly witty, Le pré aux clercs shines again in a splendid recording.
Musicians active in Boston, Washington DC, and Australia discover previously unrecorded gems, including works by women composers and composers of color.
Arts Commentary: In Memoriam, James Levine (1943-2021)
Do any of his accomplishments – including James Levine’s raising the level of an orchestra’s playing to new heights – really excuse sexual predation?I’d argue in the negative.
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