Classical Music

Theater Review: Isango Ensemble’s “uCarmen”—A Captivating Version of a Classic

November 16, 2015
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A bewitching South African version of Bizet’s opera — performed with a distinctive blend of spunk and sass.

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Classical Album Review: Tenor Jonas Kaufmann’s “Nessun Dorma”—Puccini Sung Right

November 4, 2015
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If you like good, smart singing, tenor Jonas Kaufmann’s Nessun Dorma:The Puccini Album disc is for you.

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Concert Review: Boston Philharmonic Youth Orchestra at Symphony Hall

November 3, 2015
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By any measure, this is an impressive orchestra, as technically accomplished as any number of professional ensembles, domestic and international.

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Rock Interview: Ian Anderson on “Jethro Tull: The Rock Opera”

October 30, 2015
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“This is JETHRO TULL!, expressed proudly in bold terms. And then ‘the rock opera,’ said in an embarrassed whisper.”

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Classical CD Review: “Con eco d’amore”—Elizabeth Watts sings Scarlatti

October 21, 2015
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Soprano Elizabeth Watts’ voice is as clear as crystal in every musical context and texture.

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Rethinking the Repertoire #5: Leonard Bernstein’s “Songfest”

October 19, 2015
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Bernstein’s Songfest is Exhibit A in the argument that American orchestras and conductors need to champion the music of these shores.

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Fuse Concert Review: A High-Voltage “Elektra” at Symphony Hall

October 19, 2015
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I’ve rarely heard the Boston Symphony Orchestra playing with greater color, pliancy, or controlled energy as they delivered on Saturday night.

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Rethinking the Repertoire #4: James MacMillan’s “Tryst”

October 16, 2015
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James MacMillan is one of the few contemporary composers who has embraced elements of the avant-garde and still found a wide audience.

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Album Reviews: Danill Trifonov plays Rachmaninov and Michael Lewin plays Debussy

October 14, 2015
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Michael Lewin’s new album must surely rank among the most poetic and sensitive Debussy recordings of recent memory.

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Rethinking the Repertoire #3: Karl Amadeus Hartmann’s Symphony no. 6

October 7, 2015
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The truth is that the music of this most politically aware and morally astute of composers needs – and deserves – much wider currency.

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