Classical Music
Ghosts seems to be trying to be all things to all listeners — edgy, nostalgic, farcical, adventuresome.
The Rasas are but the latest in a series of remarkable scores John Harbison has been turning out over his eighth decade.
A vital part of Susan Graham’s appeal is her winning personality; she makes a recital hall audience happy to be here before she sings a note.
There’s an apparent level of trust between the BSO and its leader, best demonstrated by the spirited excellence of the orchestra’s playing of late.
Nikolaus Harnoncourt’s final recording is the conductor at his best. Bernard Haitink helmed a great performance of Mahler’s Symphony no. 1.
Fort Worth Symphony Orchestra’s heart is in the right place with the ensemble consistently erring on the right (far) side of caution.
It’s no secret that 2016 has already been a strong year for albums featuring new and recent music: now things get even better.
Working within the forms perfected by Haydn and Mozart, Beethoven early compositions managed to say some things that remain compelling to hear.
There was no question that Music Director David Hoose loves these four pieces. The chorus was meticulously prepared, and sounded wonderful.
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