Classical Music
The fury H&H’s new artistic director Jonathan Cohen delivered in this performance made “Israel in Egypt” and its timeless story ring with renewed vigor.
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Ten years on, Andris Nelsons’s retains his remarkable gifts for expressing the raw power of music with dazzling panache.
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The Israeli-born composer, a professor at Gettysburg College, composes music that intrigues the mind and glistens with fresh sounds.
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Performances of such zest and sensitivity deserve to be rewarded with rapt enthusiasm, even love.
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Now in its 18th season, the membership of the Worcester Chamber Music Society has remained remarkably consistent, boasting a number of familiar faces from Boston’s chamber music and orchestral scenes.
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Reviews of Hélène Grimaud’s latest homage to Clara Schumann and La Tempête investigates seeming stylistic overlaps in the music of J. S. Bach, Henryk Górecki, Jehan Alain, Knut Nystedt, and John Adams.
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Auber’s 1831 “Le Philtre” (“The Love Potion”) is an engaging romp that helped give birth to Donizetti’s “L’elisir d’amore.” Immensely popular in his own day, why isn’t it revived more often?
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The Boston Lyric Opera’s production was a reminder that Puccini’s score is sure to stand the test of time, even when valiant attempts to make the opera’s storyline more palatable fall short.
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A charming rendition of Ravel serves as a perfect foil to the rigors of the Schoenberg, which, tough nut though it remains, here gets just the sort of devoted advocacy it requires.
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Jazz Commentary: Four Recent Composer-Driven Jazz Releases — New Wine in New Bottles
Four recent releases illustrate what can happen when the only limits are the imagination of the composer and the passion of the performers.
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