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.
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.
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.
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.
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.
“When you collaborate with an audience and other artists, and you let hip hop flow and intertwine, anything goes.”
Played and sung with verve in its New England premiere, “Frederick Douglass” stands as the most significant revival BMOP has undertaken in recent years.
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?
For those seeking adventure away from cookie-cutter arena rock, Phish still fit the bill.
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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