Music
In her search for John Lennon, the author follows her fancy and picks and chooses which rocks she wants to look under, all the while giving herself the space to wax poetic on whatever theme moves her. It’s an appealing approach. Too bad then that the book is a let down.
Of all the biographies of female musicians I’ve read in the past year, Last Chance Texaco is the most transparent about the vagaries of fame.
Attention is being paid today to talented composers who have been sidelined or disdained because of their race, ethnicity, religion, or sexual orientation. Reynaldo Hahn qualifies on several counts.
Miss Pat, reggae’s Chinese-Jamaican matriarch, reflects on a life in riddim.
One might risk hyperbole by saying so, but in this instance such recklessness is worth it: this album sounds like Brahms as he ought to be played and sung.
For Alex Ross, Wagnerism is as profound and far-reaching an aesthetic ideology – for good, ill, and all degrees in between – as any.
Fiddler Daniel Hope’s new all-Schnittke disc with pianist Alexey Botvinov brings with it a level of authority that demands respect.
New podcast host Elizabeth Howard talks to Neal Goren about contemporary opera: the trends, attracting new audiences, and how opera can be adapted for the internet.
At a time most venues are doing without live music, the Creative Music Series is bucking the trend with free public concerts in outdoor locations throughout the Boston area.
Music Commentary: The Seven Ages of Jazz-Kind
With apologies to the Swan of Avon.
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