Seiji Ozawa’s Symphony no. 7 and Leonore Overture no. 3 offers a memorable blend of color, atmosphere, purpose, and soul; François-Xavier Roth and Les Siècles serve up a satisfactory, period-instrument Symphony no. 5; Thomas Adès’ take on Beethoven is concentrated and energetic, if a bit impersonal.
Evaluations of a smorgasbord of Beethoven symphony recordings.
Music in Eight Parts is a welcome and inviting addition to the Philip Glass canon; the Summer of Thomas Adès continues with a stirring new recording of the British composer’s keyboard work; Anna Clyne’s Dance is, without a doubt, one of the finest pieces I’ve heard this year.
Thomas Adès is a formidable pianist and his output for his native instrument is fundamentally gripping; yMusic’s new album is a spectacularly-played and -recorded disc; Michael Gordon’s Anonymous Man is undeniably hypnotic but gets stuck in a loop that goes on for a mite too long.
A terrific release showcases the Boston Symphony Orchestra and composer Thomas Adès. Michael Tilson Thomas and the San Francisco Symphony deliver a radiantly honest recording of Aaron Copland’s Symphony 3.
Reviews of three superior vocal recordings, featuring baritone Gerald Finley, tenor Ian Bostridge, and baritone Thomas Meglioranza.
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.
These BSO concerts, conducted by Thomas Adès, were the culminating event in his impressive first season.
On the whole, 2016-17 is shaping up to be one of the liveliest Boston Symphony Orchestra seasons since the first years of James Levine’s tenure.
Powder Her Face proved the perfect capstone to Odyssey Opera’s month-long survey of British (mostly comic) opera: biting, darkly humorous, provocative, and relevant.