Gil Rose and the Boston Modern Orchestra Project (BMOP) have been on something of a recording tear of late.
Far From Vietnam dared say what no American documentary, even the most radical, would insinuate for fear of being accused of treason: in Vietnam, the Americans were the new Germans.
With an eclectic visual style that includes animation, and narration spoken with conviction by D.C. native Henry Rollins, The Legend of Cool “Disco” Dan tries to accentuate the positive.
Pulitzer prize-winning dramatist Robert Schenkkan is chained to a dreary, fact-driven approach in “All the Way,” tossing in bits and pieces of “what if” for unconvincing dramatic effect.
A knockout performance from pianist Jeremy Denk, cellist Jan Vogler exudes a strong poetic sensibility, and pianist Hélène Grimaud’s Brahms Concertos are a mixed bag.
I found myself most interested by the fact that so many of the changes that took place at WBCN made absolute sense to me, even if I had an aesthetic beef with them.
While Múm sometimes succumbs to the monotony that’s a predictable risk for chill electronic acts, in Smilewound the group has brought together a set of intricately-crafted folktronic songs that are always enjoyable, and occasionally even breathtaking.
In conductor Christoph von Dohnányi, the BSO has one of its most trusted guests and thoughtful collaborators.
The jam-packed audience for the opening performance of the fiftieth season was filled with Cantata Singers old timers.
The crowd at the Paradise Rock Club was awful, and whether Jake Bugg noticed this or not, it caused him to turn in a pretty mediocre performance.