Classical Music
A fresh, bracing take on Beethoven as a dramatist, Tesla Quartet serves up refreshingly direct and emotionally-complex performances of Mozart, and flautist Emmanuel Pahud has crafted an ear-catching, unpredictable program.
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I had never heard of Marcus Paus before, but his work I Hate Men, set to witty verses by Dorothy Parker, proved to be one of the most entertaining and engaging pieces I have heard in recent years.
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This year has brought a bumper crop of wonderful recordings of unusual operas — and one unusual recording of a repertory staple: Gounod’s Faust.
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One of Donizetti’s strongest and most original works, has finally been reconstructed and recorded by superb forces under the remarkable Mark Elder.
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Tarare is simply one of the most important operas of the Classic era, precisely because it challenges so many aspects of Classic-era “normality.” You won’t believe your ears.
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I do not know how BEMF will ever top this. Bravo tutti!
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Even taking into consideration my several objections, this Faust is one of the most accomplished and intriguing opera releases of recent years.
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All is Calm juxtaposes the gravity (some might say the idiocy) of war with the simple human gestures that the opposing sides extended to each other during a remarkable cease fire.
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Colorful, characterful, and full of worldly wisdom, The Last Sorcerer—by a skilled and imaginative composer, to a text by the great Russian novelist— receives a superb world-premiere recording, with Met mezzo Jamie Barton and bass-baritone Eric Owens.
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The Boston Philharmonic Youth Orchestra’s first appearance of the season presented canonical selections without a hint of complacency or apathy.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues