Music
Navigating the clash between tradition and experimentation — they are often two vastly different artistic worlds — requires bold programming.
The sheepishly affable Trey Anastasio wisely focused on music, allowing him to play a broader representation of his repertoire across two hours and 25 minutes.
Timelines bounce a bit through the loosely organized, vignette-rooted book, where the back half casually weaves through a checklist of characters and tales not to be missed.
A unique, memorable summit of three intellectually minded luminaries who bridged jazz, classical, Latin and South Asian influences.
“I wanted, with this opera, to see if audiences and collaborators could feel something about our changing weather, in an artistic space.”
Conductor Jane Glover, marvelous soloists — including superstar countertenor Aryeh Nussbaum Cohen — and a superb chorus and orchestra invigorate one of Handel’s last and greatest works.
A review of two fine backstage (or offstage) comedies at the Berlinale — “Blue Moon” and “Koln 75”.
Playing side-by-side on two different pianos facing in opposite directions on the Symphony Hall stage, Vikingur Ólafsson and Yuja Wang were as complementary, in a flavorsome way, as lemon and chocolate.
A Boston jazz critic’s notebook — three shows at Regattabar and one at the Lilypad.
Nash Ensemble’s new album captures much of what makes Claude Debussy’s chamber music so fresh and beloved. Orion Weiss’s Arc III is smart, timely programming, dispatched with insight and care.
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