Classical Music
Violinist Viktoria Mullova supplies one of the year’s most programmatically-cohesive and thoughtfully-executed albums.
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What wasn’t there to love about 20th-century music on a night like this? In a word, nothing.
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MassOpera opened their season with a workshop of a new opera, something they’ve never done before.
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Derrick Wang’s Scalia/Ginsburg is a three character comic opera that combines elements of Jean-Paul Sartre’s No Exit and Perry Mason.
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If Charlie Harmon’s story jumps around a bit and reads rather like a series of diary entries, it’s at the very least engaging and, for the most part, entertaining.
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Two Mahler symphony entries: one is above average, the other a disappointment. Violinist Arabella Steinbacher delivers a first-rate and strongly recommended disc.
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Night Triptych is an important disc, but also an inviting one that takes you to some fresh places well worth experiencing. Also, another success for harpsichordist Justin Taylor, and a well-earned one at that.
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Nearly three decades after he left us, Bernstein’s music seems to be in good hands and anything but forgotten. And his larger musical influence strongly endures.
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A winning reminder of Sir Neville Marriner’s impressive stylistic range as a conductor, a fine recording of a much-loved and -played Richard Strauss tone poem, and a striking, powerful presentation of the string quartets of James MacMillan.
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Music Commentary: 2018-19 Boston Classical Music Fall Season Preview (Orchestras, Opera, and New Music, mainly)
There’s so much going on in the area that’s good that it’s a challenge to go wrong.
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