Classical Music
“You can be certain that when the show begins and you hear “Mack the Knife,” the choreography will suggest scenes of slashing and murdering.”
Throughout the night, CpM music director Jamie Kirsch kept tempos lively and never lost sight of the overarching shape of each of the evening’s big pieces.
Max Bruch’s music is smart, strong, crafty, and, often, quite endearing.
From a compositional standpoint, too, Chamber Dance is an example of Tower at her engaging best.
Their combined sound, made by two nested pianos, their lids off, aided and abetted by Jordan Hall’s superb acoustics, was irresistible.
The deeply personal nature of the music’s narrative drew some extraordinary music from Liszt’s pen.
This weekend’s concert fires on all cylinders. Don’t miss it.
Benjamin Zander, who’s led some distinctly fine concerts in recent years, drew the best out of his band.
The members of this trio seem to have preternatural access to each other’s musical thoughts.
The Verona Quartet is certainly worth watching, above all for the intimate way in which they communicate with each other and with the audience.
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