Music
François-Xavier Roth’s Mahler offers plenty of personality and ideas; there’s nothing on Mariss Jansons’ disc that’s really worth your time; guitarist Daniel Lippel draws out Steve Reich’s lyrical qualities.
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Vasily Petrenko’s Elgar disappoints, Edward Gardner’s Mendelssohn excites, and Alain Lefévre’s Paris is delights.
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Vladimir Jurowski’s new recording of Rachmaninoff’s Symphony no. 1 is a tightly-played, exciting reading; The Yiddish Cabaret’s only real offense relates to poor labeling; The transcriptions in Russian Masquerade are played with spunk and vitality.
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The best (or worst, depending on your preferences) aspect to Boston Calling has become its attention to youth-centric subcultures that have blown mainstream in DJs/electronic music and hip-hop.
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With the release of her second solo album, Tal Wilkenfeld has become more than a bass virtuoso: she’s a sensitive songwriter, expressive singer, and capable guitarist.
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Railroad Rhythms is one of the year’s delights: unexpected, well played, and thoroughly charming. Theodore Kuchar is a conductor who seems to know precious few limitations; Eduard Strauss, despite his champions, turns out to have been a competent writer of music for the day.
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Once again, drummer Ralph Peterson pays fine homage to Art Blakey’s tradition of joyous, hard-edged bashing jazz.
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Play It Loud is porn for musicians and fans who fetishize the tools of the trade.
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Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.
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Charles Villiers Stanford’s bold Mass Via victrix is finally heard; Pablo Heras-Casado wraps up his survey of the Mendelssohn symphonies in high style; Anna Shelest completes her performance of Anton Rubinstein piano concertos.
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Arts Feature: Best Movies (With Some Disappointments) of 2025