Music
Come celebrate the music of Sun Ra: legendary jazz composer, bandleader, piano and synthesizer player, poet, theatrical ringmaster, and lyricist of the extra terrestrial.
Ray gave us permission to peek through his doors of perception and a chance to live, for just for a few hours, in his world.
The last Chameleon Arts Ensemble performance of this season, “mystic moons and dream music,” promised much, with three famed masterpieces by Debussy, Stravinsky, and Schoenberg.
This Judicial Review deals with the Boston premiere of John Harbison’s opera version of F. Scott Fitzgerald’s novel The Great Gatsby. Read the reactions and join the conversation.
The Lyric Stage Company of Boston’s production can’t quite get its arms around all of the varied elements in this exhilarating musical, but some terrific performances make up for other weaknesses.
The idea of house concerts seems to be getting some legs. The “fabulous world headquarters loft of Accurate Records” again plays host, this time to the eclectic San Francisco band, Mercury Falls.
Songs sometime climax with Nicky Schrire improvising in a pure tone way up in her top register, like a bird darting on an updraft.
Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
The selection of Andris Nelsons, 34, as the BSO’s next chief is an inspired choice and bold, and not just because of his age.
Any American arts critic worth his or her salt is part of a bohemian fringe, is aware of the political resonance of reviews, and is dedicated to sparking serious dialogue about arts and culture.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein