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Aside from his seemingly effortless technique, Roustem Saïtkoulov struck me as a poet of the piano, for whom music seems (to be) his first language.
Skylark performed an inventive and highly enjoyable program of music and tales from Norse Mythology and the land of the Vikings.
Lorelei Ensemble's latest recording is awe-inspiring.
Ilan Stavans' latest book is an engrossing potpourri of this thinker's continuing thoughts about language, culture, and the self.
Colin Carr supplied an extraordinary performance of Bach’s Six Cello Suites.
Pianist Constantine Finehouse and violinist Daniel Kurganov are well-matched musicians, and have recorded a superb album.
Kevin Leong is unquestionably an inspired choice to lead this chorus.
David Lang’s score is hypnotic, and Emmanuel Music's quartet of singers gave wonderful renditions.
The thought of the Kissin/Emerson collaboration was very intriguing, and I anticipated amazing music making. By Susan Miron This reviewer has been a devoted fan of the Emerson String Quarte…
There were the inevitable crowd-pleasers on which Audra McDonald puts her impassioned stamp.
This performance was far more than special and crazily beautiful -- it was extraordinary.
Their combined sound, made by two nested pianos their lids off and aided and abetted by Jordan Hall’s superb acoustics, was irresistible.
The members of this trio seem to have preternatural access to each other’s musical thoughts.
It’s hard to sit through these six masterpieces and not feel, for the moment, that life is really good.
Time seemed to stand still, a reflection of Jeremy Denk and Stefan Jackiw's astonishing polish -- they understand the music of Charles Ives deeply.
Peter Child’s challenge was to match his orchestral and choral music to the harrowing nature of the text -- and he worked this out well.
What is surprising is that, along with the extraordinary power of her voice, Jamie Barton's luminous smile won me over before she sang a note.
I cannot recall reading any book about Jewish history that contains so many “Aha!” moments.
Chock-full of truly delightful music, the production scores as yet another BEMF opera triumph.
Boston Early Music Festival tossed a bang-up evening of performances on Monday night.
The Cantata Singers prefaced its intriguing, Jewish-themed performance with a marvelously sensory, spiritual experience.
Few in the business proffer the same fusion of near-unbelievable chops/technique with an acute musical sensitivity that encourages near-miracles.
J.S. Bach has been subjected to every imaginable kind of transcription, but the combination of mandolin, bass, and cello is probably new.
These are troubling times which make us realize how vital music -- especially Bach -- is to our souls, to our spiritual wellbeing.
Tenor Nicholas Phan's performance will surely be among the finest I’ll hear in the year to come.
The stellar BEMF team whips up a holiday confection that's worth catching year after year.
Like most of the innocent heroines in horror movies, Bluebeard's wife is unaware of the old adage of curiosity killing the cat.
After all these many decades I am still deeply moved by Yo-Yo Ma's playing, which combines irresistible charisma and generosity of spirit.
This was a fascinating program conducted by someone that the BSO will hopefully put (firmly) into their rotation of distinguished guest conductors.
It is unlikely that any other BSO concert this year will top Thursday night’s performance of Richard Strauss’s opera Der Rosenkavalier.
This is a major Bach town and, judging by this evening, no ensemble performs his music much better than H & H under Harry Christophers.