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What will guarantee obsolescence? If members of the BTCA continue to embrace a “whatever is, is right” attitude to Boston’s stage scene.
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This is a terrific compendium of new music of the best sort: the kind that’s brilliantly written, expressively direct, played with assurance, and engineered with clarity and warmth.
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An eclectic round-up of the favorite books of the year from our critics.
Read MoreFor classical music recordings it has been a remarkably rich year, especially over its second half.
Read MoreIf James Madison was so verbose that his draft version of the First Amendment could be cut in half, then he can hardly be called an artist with words.
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Agrippina (1709), an enormous hit at the Met this past season, proves, by turns, gripping, sardonic, and exquisite.
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It is entertaining, but Lindsay Joelle’s script supplies only a tiny, sometimes contrived glimpse at a profession that deserves to be treated with more nuance and understanding.
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Ron Padgett’s “Pink Dust” proves that W.H. Auden was wrong — the nothing of poetry contains everything required to make a good (even heroic) life happen.
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Timelines bounce a bit through the loosely organized, vignette-rooted book, where the back half casually weaves through a checklist of characters and tales not to be missed.
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Classical Music Commentary: Top Classical Performances and Recordings of 2022
What a great year 2022 was for classical music recordings: the canon, new music, neglected music – all of it was well-represented and from all comers.
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