Classical Music
What wasn’t there to love about 20th-century music on a night like this? In a word, nothing.
MassOpera opened their season with a workshop of a new opera, something they’ve never done before.
Derrick Wang’s Scalia/Ginsburg is a three character comic opera that combines elements of Jean-Paul Sartre’s No Exit and Perry Mason.
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.
Two Mahler symphony entries: one is above average, the other a disappointment. Violinist Arabella Steinbacher delivers a first-rate and strongly recommended disc.
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.
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.
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.
Aspects of America, from the Oregon Symphony and its music director Carlos Kalmar, is at once superbly played, astutely programmed, and aesthetically necessary.
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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