Music
Boston’s Fred Taylor was by turns (and often simultaneously) a recording engineer, promo man, artist manager, talent scout, press agent, newspaper columnist, concert promoter, club manager, nightclub owner, restaurant, and movie house owner.
This is a well-rounded session of disciplined, well-crafted composing and soloing, with established and up-and-coming players mixing it up with style and commitment.
It’s easy to single out each of these musicians, but listeners will hear the three as nearly one, which is surely what this trinity intended.
World premiere recording of an utterly delicious 1872 comic opera, recorded without spoken dialogue, so you can just revel in the music and the singing.
Taken together, these four pieces showcase a composer whose handling of the orchestra is expert and whose sense of form, in these works at least, feels unerringly right.
Philip Glass’s librettist Arthur Yorinks offers his thoughts on whether and how to update an opera as the Boston Lyric Opera releases its revamped and filmed version of The Fall of the House of Usher.
I may be in quarantine, but music can transport me back to the Middle Ages, or to the court of Catherine the Great of Russia, or, via Donizetti, to an imagined India.
The late Phil Spector once famously referred to his songs as “little symphonies for the kids.”
How do you make filmed opera relevant in the Age of COVID? The BLO isolated the performers from one another and made E.A. Poe’s story the dream of an immigrant child in detention on the US/Mexico border.
My Father Knew Charles Ives and Harmonielehre make an excellent pairing on the Nashville Symphony Orchestra’s new, all-Adams album led by music director Giancarlo Guerrero.
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