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Director Raoul Peck, like his subject George Orwell, encourages critical thinking and urges us to consider how best to resist the strengthening forces of tyranny.
I’m impressed with the new adaptation and depressed that it’s considered necessary.
The Worst Ones is a distinctive cinematic achievement – it is deeply moving film that offers a critique of itself.
To my knowledge, this is the first time that a composer has undertaken to write a set of preludes and fugues for saxophone quartet. This is typically a keyboard form, with the Bach (“Well-Tempered Clavier”) and Shostakovich cycles representing twin peaks of that repertoire. Michael Pagán’s 12 Preludes & Fugues. Performed by the Colorado Saxophone…
The real action, rest assured, will take place in the counting house, not the courthouse.
Saturday’s performance revealed the BSO to be at the top of its collective game, totally locked in, and fully responsive to Andris Nelsons’ leading.
Russian composer Dmitri Shostakovich was both a rebel and a conformist, a fascinating hybrid of courage and cowardice.
Françoix-Xavier Roth delivers a must-have cycle of Robert Schumann’s symphonies; Herbert Blomstedt’s Brahms’s Symphony no. 1 is spacious, restrained, and – too often – dull; Daniel Barenboim’s latest Elgar installment features a regrettably unsung masterpiece.
A freshly thought through, energetically executed Berlioz disc; a lovely album that contains excellent performances of underperformed and unfamiliar repertoire that deserves to be heard and championed; a fine, sometimes inspired account of Respighi.
Classical Music Commentary: On Andris Nelsons’ First Season in Boston and a Look Ahead at 2015-16
By the end of Andris Nelsons’s inaugural season he had the BSO playing with lots of energy and like they really care, night in and out.
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