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Boston Conservatory’s New Music Festival is inspiring a series of critical and speculative commentaries from Fuse Jazz Critic Steve Elman. Here is the second, which focuses on The Fringe and some of the qualities that make the trio special in the world of jazz.
Boston Conservatory’s New Music Festival is inspiring a series of critical and speculative commentaries from Fuse Jazz Critic Steve Elman. Here is the first.
Pianist Angela Hewitt’s performance was hypnotically lovely. She has a beautiful touch, as piano teachers like to say, and her playing was colorful and always elegant.
Along with its puppets and spectacle, “The Snow Queen” gives the audience a chance to become part of the action. Kids of all ages are invited to put down their electronic toys and enter a fanciful — rather than frenzied — theatrical world.
MIT saves a December void of underground musical events by hosting Florian Hecker and Terry Riley.
It may be the holiday season, but there are a surprisingly large amount of really great concerts this month, some of which are free.
We need the humanities because we need imagination that works outside the narrow channels where the sciences succeed.
Although he has set himself an ambitious task with all that is happening in “The List,” Martin Fletcher has complete command of this material and has created a complex novel that is also a good thriller.
While I’m not necessarily sold on this particular interpretation of Mahler Symphony no. 1, it was a thoughtful reading led with conviction; conductor Ludovic Morlot drew a committed performance from the BSO, and that counts for something.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein