Review
This splendid album offers ample proof that Henry Desmarest stands shoulder to shoulder with his major 17th century French contemporaries, Lully and Marin Marais.
The scenario may seem a bit too meta, but in director Todd Haynes’ deft hands, the tonal complexities of ” May December” are quite dizzying to behold.
Daniil Trifonov’s long-awaited return to Symphony Hall showed that he continues to embody the fullness of the great Russian pianistic legacy.
This well-directed and performed production of a musical about the universal longing for connection delivers a stirringly heart felt experience.
Nicolas Cage plays a man who craves renown but can only captivate an audience of sleepyheads.
Two upcoming releases of restored radio broadcasts offer so much good listening and so much deeply satisfying jazz that they deserve to share the spotlight. One of them is destined to be seen as a landmark document in jazz history.
Tenor saxophonist Ivo Perelman’s work is customarily full of subtle surprises, akimbo with shifts and side-trips. This new recording, with a sextet, is no exception.
The pianist provided a 150-minute long procession of anecdotes, thoughts, and absolutely first-class playing for his adoring, thoroughly attentive audience, who happily bought tickets to hear whatever Sir András Schiff chose to play.
A world-premiere recording of Kurt Weill’s “Prophets” — originally intended as the last act of “The Eternal Road” — with excellent singers, plus Thomas Hampson in Weill’s Walt Whitman Songs.
The Emerson String Quartet concludes its recorded legacy pretty much the way it began it — in musical glory. Robert Trevino and the Orchestra Sinfonica Nazionale della RAI’s Respighi has plenty of spirit and heart.
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