Music
The planned variety of sounds and rhythms is the adroit work of a composer dedicated to both freedom and his own version of continuity.
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Neeme Järvi, true to his usual form, favors brisk tempos, which tend to keep things from getting bogged down in Wilhelm Furtwängler’s bog of a Symphony No.2; Nicholas Collon leads a stupendous recording of Sibelius’s Symphony No. 5.
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Jon Batiste’s performance resonated with what musician Zachary Richard calls the “holy trinity” of Louisiana music: Cajun, zydeco, and “old-fashioned” rock and roll.
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Violinist Lea Birringer does dazzlingly right by Sibelius and Szymanowski concertos and cellist Sheku Kanneh-Mason finds life and defiance in Shostakovich’s Cello Concerto No. 2.
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Rockport Chamber Music Festival is in the midst of a stellar season. Saturday evening, the brilliant pianist (and writer) Jonathan Biss gave a sensational recital of two late Schubert sonatas—a music lover’s dream.
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“When you collaborate with an audience and other artists, and you let hip hop flow and intertwine, anything goes.”
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Played and sung with verve in its New England premiere, “Frederick Douglass” stands as the most significant revival BMOP has undertaken in recent years.
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The question before arts organizations and companies is the same one that looms over the rest of us: will they—can they—act before it’s too late?
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For those seeking adventure away from cookie-cutter arena rock, Phish still fit the bill.
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Jazz Commentary: John Coltrane’s “A Love Supreme” Turns 60 — A Homage
This year marks the 60th anniversary of the release of John Coltrane’s magisterial album “A Love Supreme,” which has meant so much to so many.
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