Music
“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.
Whether he’s playing in the middle, on the edge, or is just flying out on his own, veteran tenor saxophonist Mark Turner reconfirms on these three new releases that he is still finding his own way.
Sir Simon Rattle and Bavarian Radio Symphony Orchestra solve the riddle of Gustav Mahler’s Symphony No. 7. The conductor and the London Symphony Orchestra also offer a refreshingly impish, characterful traversal of music by Kurt Weill.
This H + H Society performance suggested Handel’s genius for generating joy.
Music is one of the ways we experience time — Satoko Fujii and the musicians in “GEN” make it disappear.
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