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.
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.
This year has brought a bumper crop of wonderful recordings of unusual operas — and one unusual recording of a repertory staple: Gounod’s Faust.
One of Donizetti’s strongest and most original works, has finally been reconstructed and recorded by superb forces under the remarkable Mark Elder.
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.
I do not know how BEMF will ever top this. Bravo tutti!
Even taking into consideration my several objections, this Faust is one of the most accomplished and intriguing opera releases of recent years.
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.
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.
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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