Music
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.
In honor of Big Ears’ tenth edition, here’s a look at ten of my favorite festival moments.
Arts Commentary: In Memoriam, Michael Tilson Thomas (1944-2026)