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.
The Boston Symphony Orchestra lacks a composer-in-residence. There are many local composers the orchestra might draw on were it to establish such a position, but few have the international reputation of someone like Thomas Adés.
With “In Seven Days,” Thomas Adés seems to have developed a musical language that’s complex yet not forbidding: there’s no sense that his music is weighed down by expectations of the past, even as he freely refers to archaic compositional forms.