Classical Music
Happily, the composers on this compelling BMOP program were not cowed by tradition.
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Pietro Auletta’s “L’Orazio” (1737), with substitute arias by other composers, gets a first-rate performance from the renowned Valle d’Itria Festival.
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Russian composer Dmitri Shostakovich was both a rebel and a conformist, a fascinating hybrid of courage and cowardice.
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Ferruccio Busoni’s century-old (or -young) Doktor Faust, inspired by Christopher Marlowe and other pre-Goethe sources, offers a fascinatingly hellish ride.
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Heard live, pianist Evgeny Kissin offers the kind of rare, heart-altering listening experiences that give one hope for our woefully fractured world.
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After more than a quarter century, with an impressive new venue serving as a platform, Radius Ensemble continues to expand its musical reach.
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The not-to-be missed “Symphonic Chronicles IV” is a very welcome alternative to much of the atonal, modern classical music currently flooding the market.
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This was a “Resurrection” Symphony for today: urgent and unsettled, yes, but also searching, persevering, and, ultimately, triumphant. If the weekend turns out to have marked conductor Benjamin Zander’s last go-around with this masterpiece, what a way to finish.
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It is serendipitous that James Ehnes added Brahms’ two viola sonatas to his repertoire; Patrick Messina, Lise Berthaud, and Fabrizio Chiovetta’s new recording of Bruch’s “8 Pieces for Clarinet, Viola, and Piano” serves the piece admirably.
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A conspicuously inviting account of Béla Bartók’s Duke Bluebeard’s Castle, and a welcome surprise: Aram Khachaturian actually wrote a pretty good piano concerto.
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