Music
This year has brought a bumper crop of wonderful recordings of unusual operas — and one unusual recording of a repertory staple: Gounod’s Faust.
Pianist Kris Davis’s Diatom Ribbons and the multi-disc set Nat King Cole’s Hittin’ the Ramp: The Early Years (1936-43) are among the albums that made more than one list.
One of Donizetti’s strongest and most original works, has finally been reconstructed and recorded by superb forces under the remarkable Mark Elder.
Each concert offered all that the Tedeschi Trucks Band can do.
Tarare is simply one of the most important operas of the Classic era, precisely because it challenges so many aspects of Classic-era “normality.” You won’t believe your ears.
I do not know how BEMF will ever top this. Bravo tutti!
Even taking into consideration my several objections, this Faust is one of the most accomplished and intriguing opera releases of recent years.
All is Calm juxtaposes the gravity (some might say the idiocy) of war with the simple human gestures that the opposing sides extended to each other during a remarkable cease fire.
Colorful, characterful, and full of worldly wisdom, The Last Sorcerer—by a skilled and imaginative composer, to a text by the great Russian novelist— receives a superb world-premiere recording, with Met mezzo Jamie Barton and bass-baritone Eric Owens.
The Tedeschi Trucks Band is capping another remarkable year of transition and growth, some of it spurred by tragedy.
Recent Comments