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Heard live, pianist Evgeny Kissin offers the kind of rare, heart-altering listening experiences that give one hope for our woefully fractured world.
If the BSO wanted to make a statement about where it might be headed based on the strong artistic results of the current season, it certainly could have. That it didn’t is a missed opportunity and hopefully not a sign of things to come.
This San Francisco Symphony release proves to be a fitting send-off for music director Michael Tilson Thomas; there’s much to admire in the Seattle Symphony’s playing of Carl Nielsen’s first two symphonies; fiery energy from both violinist Arabella Steinbacher and the excellent Münchener Kammerorchester make their new disk a gem.
Three new classical music albums: two are superior, one is a bit of a mixed bag.
Three reviews of new classical music CDs: one is inviting, another lively, and the last could use more intensity.
Saturday’s reading of Lutoslawski’s Piano Concerto greatly benefited from pianist Garrick Ohlsson’s steely yet sensitive account of the solo part.
Some listeners are undoubtedly going to dismiss Lese Majesty as a collection of vignettes or motifs, formless for all intents and purposes. That would be a shame.
By taking the stage with 15 musicians, none of whom is female, the Jazz at Lincoln Center Orchestra presents the music as segregated and outdated.
Violinist Itzhak Perlman is the go-to guy when a world-class violinist is needed at presidential inaugurations, for visiting royalty, and as a guest for cooking shows.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein
In Boston, Leonard Bernstein might have sustained Serge Koussevitzky’s bold adventure—and changed the course of American classical music. Today’s Boston Symphony is adrift
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