Music
“I think these shots bring out the fierceness of black metal, and the models are saying, ‘We can be this.’”
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Composer Anna Clyne’s new disc displays her maturity as a composer and brilliance as an orchestrator; pianist Simone Dinnerstein builds a number of bridges between Philip Glass and Franz Schubert; pianist Hélène Grimaud’s interesting program is marred by some uneven Mozart.
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Sittin’ in raises fascinating issues and its wealth of ephemera provides an amusing context in which to ponder deeper questions.
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Terrific performances, blazing with color, character, and wonderful technique from Neeme Järvi and the Royal Scottish National Orchestra; John Williams and the Vienna Philharmonic Orchestra offer considerable pleasure with some misteps; another triumphant release from Gil Rose and the BMOP.
Read MoreBook Review: “Nobody Ever Asked Me About the Girls” — A Disappointing Look at Women, Music, and Fame
Journalist Lisa Robinson deconstructed the idea of the girl who could hang with the guys (and laugh off their casual misogyny) long before Gillian Flynn immortalized the Cool Girl in Gone Girl.
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Françoix-Xavier Roth delivers a must-have cycle of Robert Schumann’s symphonies; Herbert Blomstedt’s Brahms’s Symphony no. 1 is spacious, restrained, and – too often – dull; Daniel Barenboim’s latest Elgar installment features a regrettably unsung masterpiece.
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A trio of recordings help us rethink and rehear composers as varied as Barbara Strozzi (from the seventeenth century), Chopin, and Mahler.
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Now that ¾ of the Yellowjackets are eligible for Social Security, the emphasis is more on confirming a legacy of creative compositions and expanding their art of arranging with a broader range of colors.
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Metropolitan Opera stars Ildebrando d’Arcangelo and Liudmyla Monastyrska headline a new recording that reveals Verdi operatic mastery five years before Rigoletto.
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This recording displays a mastery of the techniques of the jazz vocal group genre.
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Arts Feature: Best Movies (With Some Disappointments) of 2025