Music
The VPO’s performance doesn’t want for energy or purpose because of the lack of a crowd. Rather, there seems to be an internal imperative to the ensemble’s music-making that isn’t always apparent at these events.
Here’s yet one more fantastic thing about it no longer being 2020: it’s now the 50th anniversary of the excellent music that premiered in 1971.
One can only hope that Gail Samuel’s hiring means that the BSO’s welcome-but-fitful efforts at expanding its repertoire and engaging the community of late will become central to its post-pandemic mission.
Two brilliant Israeli pianists have released exceptional musical offerings.
There’s much to admire in the color, character, and urgency of the Minnesotans’ playing and the overall strong direction from conductor Osmo Vänskä.
“Individual stories are the single most important component of any collective, and your story matters more than you can know.”
There are some smartly colored and well-handled performances here, but it’s hard to get past the recording’s unsatisfactory acoustics.
Croatia’s best-known Opera is like The Bartered Bride or a lighter-spirited Porgy and Bess: tuneful, engaging, and stageworthy.
Nashville songwriter Aimee Mayo’s memoir offers an eye-opening perspective on the problematic treatment of women in the country music industry.
This surprisingly seamless record belies its logistical shuffles and players’ cultural differences with a relaxed sonic identity.
Fest Review: IFFBoston Shorts — Part One