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The Anonymous 4 went through their medieval and early Renaissance paces, vibrato-less but historically informed and performed.
Our discussions always took the same turn. Philip Guston attempted to convince me that artists like Piero della Francesca and the cave painters of Lascaux were in the first place abstractionists.
After the “Lobgesang”’s premiere, Robert Schumann declared this movement “a glimpse of heaven filled with Raphael’s madonnas,” and Saturday’s performance by the BSO came about as close to that as one could imagine, sensitively phrased and beautifully blended.
Though there were differences in quality between the compositions in the BMOP concert, all of the pieces fulfilled the primary requirement of a concerto: they showed off the capabilities of the solo instrument in question, often memorably so.
You may be still catching up on the Academy Award, Golden Globe, People’s Choice, or SAG picks. But this month offers some rare and wonderful treats for film fans of all kinds.
Italian writer Niccolò Ammaniti usually writes with an unadorned style about moral predicaments of the young in small-town Italy. “Me and You,” a slender effort in all respects, covers this ground as well, with the difference that fourteen-year-old protagonist Lorenzo Cumi is from an affluent Roman family.
In “Art,” playwright Yasmina Reza uses theater to explore how powerfully we defend our fears and rationalizations.
Guest conductor Giancarlo Guerrero, music director of the Nashville Symphony Orchestra, is a big man who conducts with big gestures. In the first half of “The Rite of Spring” I wasn’t quite sure if his podium mannerisms (which culminated in jumping jacks during the concluding “Dance of the Earth”) were helpful or distracting.
As in the plays of Harold Pinter, Reza realizes that violence seethes underneath our words; our language betrays our better nature.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein