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Nothing sleepy about the playing or the interpretations in the Yo-Yo Ma and Emmanuel Ax disc; New Hampshire's Heather Gilligan is a composer to watch.
This is one of the year’s standout orchestral albums and it’s a special treat to catch the ensemble live on these shores so soon after its release.
Two great tenor discs have recently been released
For my taste, too much of the stage action during Friday's performance was stiff and shopworn.
One of Andris Nelsons’ great gifts as an interpreter is his ability to shape and develop large-scale musical forms.
Ebony Quartet serves up a “must-hear” album of music from between the world wars.
Soprano Joyce El-Khoury sings spectacularly in her new disc, Echo.
Hindemith and Britten could hardly have asked for more committed advocates than Steinbacher, Jurowski, and the RSOB.
If there’s an essential “Leonard Bernstein at 100” album, this one, so far, is it: excellent performances of relatively unknown music deserving to be heard.
Saturday’s performance ranked among Odyssey Opera’s finest and most artistically satisfying undertakings.
Some institutions’ offerings aren’t as challenging as they could be, but there’s a healthy balance between the familiar and new.
An early highlight of the upcoming Leonard Bernstein centennial is Sony Classical’s 25-disc box set.
Michael Tilson Thomas proves he's got Alban Berg’s style in his blood; Pablo Heras-Casado's Mendelssohn symphony cycle continues to be stylish.
Sit Fast’s performances are breathtaking for their clarity and emotional involvement; Vladimir Jurowski serves up a ho-hum, un-monumental an interpretation of a late-Romantic pillar.
The Classical Collection proves that violinist Joshua Bell is only now entering his prime; the Baltic Chamber Orchestra serves up a grim and underwhelming disc.
A wonderful new performance of Mahler’s three orchestral song cycles; Daniel Reuss’s account of the oratorio Le Roi David is basically flawless.
Violinist Sebastian Bohren’s album is uneven; violinist Isabelle Faust and pianist Alexander Melnikov have produced a wonder.
The Heath Quartet delivers a triumphant Bartók cycle; Natalie Dessay's Schubert misses the mark widely.
The BSO's Brahms' sounds as robust and responsive as they do when they’re on their best behavior at Symphony Hall.
For all the surface-y beauty of the BSO's playing, it’s a dull interpretation of Anton Bruckner’s Symphony no. 3.
The Emerson Quartet is as restless and curious as ever; pianist Simone Dinnerstein is featured on a treasure of a disc.
Why do such a high number of significant contemporary composers hail from Iceland?
It is one of the enduring ironies of classical music that so much of today’s repertoire was written by such a small number of people. This post is the fifteenth in a multipart Arts Fuse se…
Sea Pictures offers, frankly, everything one might want in a song cycle: sweeping melodies, evocative scoring, stirring drama and pathos.
Samuel Barber: one of the most individual and distinguished voices to emerge in Europe or America during the 20th century.
In all, Chorus pro Musica’s production was witty and diverting, timely in spots and smart throughout
Rimsky-Korsakov’s , Antar packs a world of chimeric colors, impellent drama, and memorable tunes into less than thirty minutes.
By opting to set Figaro as a straight comedy, Cucchi’s production glossed over the opera’s subversive edge.
There aren’t too many ensembles around that consistently remind us how fresh, rich, diverse, and thought-provoking contemporary can be.
Violinist Anne-Sophie Mutter gave a searing, intense reading of the solo part in Nostalghia (In Memory of Andrei Tarkovskij).
So, what is one to make of the BPYO’s weekend effort? It was a bit bold, to be sure. But it was also stirring, heartfelt, and timely.