Classical Music
There was nothing sleepy or commonplace about the ensemble’s performance of favorites by Mozart, Brahms, and Bartók.
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Enjoy Boston Camerata’s Free America! for its high spirits and its crafty, delicious way of making the iconoclasm of the past come alive.
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Christian Tetzlaff’s brilliant account of Beethoven’s Violin Concerto makes for a great album; Rachel Barton Pine’s versions of Dvorák and Khachaturian violin concertos are songful; orchestrally, Mark Elder and the Hallé Orchestra’s Sigfried is unfailingly colorful and fresh.
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To Paradise for Onions is a lovely album; Cincinnati Symphony Orchestra ‘s Transatlantic is spirited; Yannick Nézet-Séguin’s Die Zauberflöte is lost in the crowd.
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This is one of the zippiest, most life-affirming opera recordings I have heard in a long time. Well, this puts it a bit too blandly, because the work’s social satire also targets the smug self-satisfaction and careless cruelty of the powerful.
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modern world out of control is more perceptive and chilling than ever.
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That rarest of Opening Nights: a program that was mostly fun and entertaining, but also substantive and artistically satisfying.
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One of Saint-Saëns’s most important operas, Proserpine, has recently been given its world-premiere recording, and the result is a revelation.
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Semyon Bychkov and the Czech Philharmonic do justice to a lot of Tchaikovsky’s orchestral music, while John Eliot Gardiner and the London Symphony play Robert Schumann’s famously-dense orchestrations with clarity. But Michael Stern’s account of The Planets completely lacks mystery.
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Arts Commentary: 2019-20 Classical Music Preview
I’ve compiled a list of twelve concerts (or concert series) that I think will stand among the future season’s highlights.
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