Music
By Aaron Keebaugh Lithe and economical, Boston Baroque’s superb production of Iphigénie en Tauride proved the old adage that less can be more. Iphigénie en Tauride, an opera in four acts. Libretto by Nicolas-François Guillard. Music by Christoph Willibald Gluck. Performed by Boston Baroque. Martin Pearlman, conductor. Mo Zhou, stage director. At GBH’s Calderwood Studio,…
Horse represents a victory lap (pun intended), a confident follow-up to the artist’s astonishing success with his self-release of Powderhorn Suites.
The Smithereens have released only two albums of original material since 1999, so it was pleasantly surprising when The Lost Album, consisting of a dozen songs recorded in 1993 but never released by the band, appeared last September.
Pianist Beatrice Rana has a particular talent for building a line in ways that are both exactingly dynamic and robustly emotional.
Andris Nelsons has a fine feel for colorful musical canvases, a talent once again displayed in performances of Thierry Escaich’s Cello Concerto and Rachmaninoff’s Symphony No. 2.
Few conductors in Boston have a feel for late Mahler the way Benjamin Zander does.
The combined concert and gallery experience made one reconsider old clichés — E.M. Forster’s advice that art “only connect” took on an amplified resonance.
I’ve always admired Bob Dylan’s resolute reluctance to repeat himself, artistically or otherwise. The Bootleg Series Vol. 17: Fragments reminds us how obsessive that aesthetic restlessness really is.
“I go out on the road and the clubs are full everywhere I go,” Peter Case gratefully acknowledges. “People come out to hear me play. It’s an amazing gift to have that.
A masterful composer of French Baroque violin sonatas displays another side of his immense talent in this first-rate new recording of his Scylla et Glaucus.
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