Music
Violist Timothy Ridout’s new double-album “A Lionel Tertis Celebration” is heartily recommended; soprano Asmik Grigorian’s “Laws of Solitude” not so much.
Read More
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.”
Read More
“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.
Read More
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.
Read More
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.
Read More
Even without international-caliber singers and players, Giovanni Piaisello’s “Amor vendicato” works much magic.
Read More
The set impressed in its diversity, boosted by the cohesive breadth of “What Now,” even as its homages grew overt in the second half.
Read More
Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
Read More
Once again, here was the shock in Cécile McLorin Savant’s subversive conceptual daring.
Read More
Music Commentary: In Memoriam, Seiji Ozawa (1935-2024)
Taking in the totality of Seiji Ozawa’s life and career, it seems clear that Boston got him in his prime and that he largely returned the favor, ingratiating himself with the community, at times truly elevating the BSO while conveying a lot of joy and energy in the process.
Read More