Music
Franz Peter Zimmermann’s rendition of Stravinsky’s Violin Concerto overflows with style and character; James Ehnes’ version is generally warmer and more relaxed, though it doesn’t lack for rhythmic zip.
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Violist Timothy Ridout’s new double-album “A Lionel Tertis Celebration” is heartily recommended; soprano Asmik Grigorian’s “Laws of Solitude” not so much.
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Cat Power transformed Dylan’s songs across a 90-minute set that appeared organically studied, slightly unsettled, and ultimately sublime, as the singer rode the arc from a shadowy “She Belongs to Me” to an exultant “Like a Rolling Stone.”
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“Drums & Demons” is at times frustratingly unclear on dates, but its research is comprehensive about the brilliant career and disasterous end of drummer Jim Gordon.
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The performance conveyed the essence of the Du Bois Orchestra’s mission: when played with exuberance, long-neglected and little-played works can generate as much excitement as they do wonder that they were ever overlooked.
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For years now, Cowboy Junkies has been bringing its brand of contemplative, atmospheric rock ’n’ roll into a patchwork of independent venues in our region.
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Even without international-caliber singers and players, Giovanni Piaisello’s “Amor vendicato” works much magic.
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The set impressed in its diversity, boosted by the cohesive breadth of “What Now,” even as its homages grew overt in the second half.
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Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
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Once again, here was the shock in Cécile McLorin Savant’s subversive conceptual daring.
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Music Commentary: New Orleans Jazz and Heritage Fest versus French Quarter Fest