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A thoroughly charismatic Fairy Queen from start to finish, well-prepared, fulgently delivered, and received by a packed house with well-earned warmth.
Pianist Alexander Melnikov has come up with one of the still-young year’s most compelling discs, Deutsche Grammophon releases an aural train wreck.
Two Mahler symphonies, one sluggish the other intense, while symphonies composed by Louise Farrenc, Mozart, and Haydn are done right.
Superb discs from pianist Lars Vogt, violinist Francesca Dego, pianist Denis Kozhukhin, and violinist James Ehnes on the viola.
The BSO seems to have taken to heart complaints about its lack of programming diversity, devoting two full programs to underrepresented groups.
It is, clearly, a crafty Beethoven remix and the ways John Adams assimilates the older composer’s language into his latest style are fascinating.
Kalinnikov’s First Symphony is one of those neglected works well worth beating a drum for.
This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
Charles Ives continues to stand, after 140-plus years, as the ultimate American Composer.
Pražák Quartet's Smetana is keeper, Sir Simon Rattle's Haydn is a loser, and Lindberg's "On the Waterfront" is a knockout.
Violinist Michael Barenboim is an exceptional young musician with a famous name who stands on his own two feet.
Musically, everything clicked in Boston Musica Viva's annual Family Concert.
Throughout the night, CpM music director Jamie Kirsch kept tempos lively and never lost sight of the overarching shape of each of the evening’s big pieces.
Max Bruch's music is smart, strong, crafty, and, often, quite endearing.
From a compositional standpoint, too, Chamber Dance is an example of Tower at her engaging best.
The deeply personal nature of the music’s narrative drew some extraordinary music from Liszt’s pen.
This weekend’s concert fires on all cylinders. Don’t miss it.
Benjamin Zander, who’s led some distinctly fine concerts in recent years, drew the best out from his band.
A stirring serving of contemporary classical music from Hub New Music.
Despite Shostakovich’s often-dissonant approach, the Fourteenth has always been highly-regarded if infrequently-played.
The BBC Scottish Symphony Orchestra gives sold readings of two Michael Tippett symphonies.
The San Francisco Symphony delivers performances of chamber-like sensitivity and remarkable transparency.
A round-up that includes: irresistible Beethoven, welcome arrivals of spring, a spirited celebration of Toscanini, and spectacular, revelatory Tchaikovsky.
Paavo Järvi and the Estonian Festival Orchestra present a probing and excellent version of Shostakovich’s Symphony no. 6.
It’s not Prokofiev at his finest, but his “very good” was above just about everybody else’s best.
The nearly 10 year wait for the premiere of Esa-Pekka Salonen’s string quartet Homunculus was worth it.
Conductor Marek Janowski’s Hindemith is all vigor and athleticism; Tenebrae’s Symphonic Psalms & Prayers is captivating. By Jonathan Blumhofer Marek Janowski isn’t a conductor …
A line-up of concerts, performances, and recordings that, as 2017 draws to its close, I can’t, for one reason or many, shake from my memory.
Matthias Goerne offers proof that he is the Wagner baritone of the day. And Thierry Fischer’s understanding of Mahler deserves our admiration.
Highlights include an excellent Tchaikovsky symphony cycle in modern sound and one of the year’s best chamber-music albums.
Reviews of performances that are energetic, immediate, muscular, and simply breathtaking.