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Quatuor Ébène burst into song. And I think it’s safe to say singing of any kind is almost never heard at a strings-only concert.
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Lovers of Baroque opera will want to scoop this one up quickly. I certainly have more respect and affection for Leonardo Vinci, now that I’ve come to know several of his operas.
Read MorePulitzer 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.
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Violinist James Ehnes and pianist Andrew Armstrong’s Beethoven violin sonatas feel and sound absolutely right; Quatuor Ébène’s comes up with one of this anniversary year’s few, true benchmark releases; Nikolai Lugansky’s traversal of three of Beethoven’s late piano sonatas is often admirable.
Read MoreThe Spellbound Contemporary Ballet performed the U.S. premiere of Le Quattro Stagioni.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
Read MoreI’d seen all of these works on the Boston Ballet’s program once or twice in the past. They all seemed to improve with these additional viewings.
Read MoreJohn Mayer’s “Born & Raised” departs from the melancholy-ridden songs of youth, providing a subdued, folksier vibe that reflects an artist going on 35.
Read MoreThe orchestral playing, a couple moments of questionable intonation notwithstanding, was commanding and, at times, exhilarating.
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