I’ve compiled a list of twelve concerts (or concert series) that I think will stand among the future season’s highlights.
Handel & Haydn Society
Opera Review: “Dido and Aeneas” — A Memorable Evening of Purcell
Handel and Haydn Society assembled both a must-hear program and an extraordinary cast of singers.
Classical Music CD Reviews: H&H’s Haydn & Mozart, Vaughan Williams’ Sea Symphony, and Berlioz’s Roméo et Juliette
Handel & Haydn Society’s Haydn and Mozart is about as good as it gets; Martyn Brabbins’ recording of A Sea Symphony is one of the year’s best releases; and for elegance and technical command, you can’t go wrong with Tilson Thomas and his San Francisco Symphony.
Concert Review: Handel & Haydn’s “The Messiah”
I was excited, moved, impressed, and surprised by Handel & Haydn Society’s performance of The Messiah under the exacting baton of Bernard Labadie.
Music Commentary: 2018-19 Boston Classical Music Fall Season Preview (Orchestras, Opera, and New Music, mainly)
There’s so much going on in the area that’s good that it’s a challenge to go wrong.
Concert Review: Handel & Haydn Society Plays Purcell’s “The Fairy Queen”
A thoroughly charismatic Fairy Queen from start to finish, well-prepared, fulgently delivered, and received by a packed house with well-earned warmth.
Classical CD Review: Vänskä’s Mahler Six, Harding’s Mahler Nine, Louise Farrenc Symphonies, Handel & Haydn Society plays Haydn and Mozart
Two Mahler symphonies, one sluggish the other intense, while symphonies composed by Louise Farrenc, Mozart, and Haydn are done right.
Fuse Concert Review: Mozart and Beethoven from the Handel & Haydn Society
Working within the forms perfected by Haydn and Mozart, Beethoven early compositions managed to say some things that remain compelling to hear.
Fuse Music Feature: Best Classical Performances of 2015
Of course, it’s a tricky business to summarize a classical music scene as busy and wide as Boston’s.
Classical Music Commentary: The Perilous Life of the Handel & Haydn Society?
The greatest obstacle H&H faces in building new audiences, though, is far more insidious than too many period ensembles in town: it has to do with time.