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The final installment in the Boston Symphony Orchestra’ s Shostakovich symphonies series is not nearly as overwhelming as its kick-off disc.
The BSO recently announced an extension to artistic partner Thomas Adès’s contract. It is lucky to have him. So are the rest of us.
Heralded cellist Yo-Yo Ma has played with several distinguished pianists over the years, but none (are) better than Kathryn Stott.
An alternative to the New York Times’ review of “Porgy and Bess” at the Tanglewood Festival.
My Father Knew Charles Ives and Harmonielehre make an excellent pairing on the Nashville Symphony Orchestra’s new, all-Adams album led by music director Giancarlo Guerrero.
I’ve been going to BSO Open Rehearsal for some 50 years at Tanglewood and can’t remember ever having as alienating an experience as I and over one thousand other attendees had Wednesday night at Symphony Hall.
What business has a period orchestra got playing the music of Anton Bruckner? And why can’t conductors and orchestras just leave Gustav Holst’s “The Planets” alone?
For Joan Tower fans, this disc is a must; for the Tower-curious, it offers an excellent introduction to the composer’s wider work, all of it compellingly played.
The BSO’s Brahms’ sounds as robust and responsive as they do when they’re on their best behavior at Symphony Hall.
My overall impression of the ballet was of earnest pretension.
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