The ensemble gave emotionally generous performances of two works written during the COVID pandemic as well as Lili Boulanger’s masterpiece, Psalm 130 “Du fond de l’abime je t’invoque, Iahve, Adonai” in Church of the Redeemer, Chestnut Hill on Saturday.    [continued]

Yevgeny Kissin headlined a a sold-out benefit at Jordan Hall last Tuesday which presented the artist  as a deeply committed humanist as well as a composer and pianist.    [continued]

Winsor Music’s remarkably visceral works On Sunday at St. Paul’s in Brookline centered on Milad Yousufi’s My Journey to America. The first half featured six choral preludes from Alan Fletcher’s recent arrangements of selections from Bach’s Orgelbüchlein, a passionate and thrilling performance of Philip Glass’s Mad Rush, and a short Hippocratic Oath for the Spirit    [continued]

The Plimpton Shattuck Black Box Theater hosted the intense and powerful Merz Trio in Sunday’s and Monday’s sound and light trip into the mind of Tchaikovsky…and their own.    [continued]

The Boston Chamber Music Society offered the String Quintet, Op. 77, of Dvořák, and the Clarinet Quintet in F-sharp Minor, Op. 10 of Samuel Coleridge-Taylor (1875-1912) at Jordan Hall on Sunday, to conclude its season.    [continued]

Famed mezzo-soprano Stephanie Blythe channeled her alter ego, dramatic tenor, Blythely Oratonio in a one-act, autobiographical drag show for Boston Lyric Opera Friday night at the quaint Royale Boston.    [continued]

Veteran violinist Cho-Liang Lin collaborated with the experienced chamber music cellist Clive Greensmith and the young Finish pianist Juho Pohjonen in an attractive mixed program for the Foundation of Chinese Performing Arts at Jordan Hall on Saturday night.    [continued]

The Boston Philharmonic Youth Orchestra’s Symphony Hall concert of Russian masters on Friday night disclosed an ensemble fully armed artistically for its upcoming embarkation upon a tour of Greece.    [continued]

In the Takács Quartet’s Celebrity Series apearance with bandoneonist Julien Labro at First Church in Cambridge on Saturday, the players coaxed out subtleties — both improvised and carefully planned — that drew on a set of traditional and well-known themes.    [continued]

Boston audiences bade a fond farewell to Harry Christopher’s at this weekend’s Handel and Haydn Society performances of Haydn’s oratorio The Creation, Christophers’s last as Artistic Director.    [continued]

Principal cellist Blaise Déjardin’s concerto début in Saint-Saëns’s Cello Concerto served as a refreshing relevé between two Strauss works at Symphony Hall on Saturday night.    [continued]

A dedicated group of musicians, mainly Rivers Conservatory faculty, gave a benefit concert on Saturday for Sunflower of Peace, a Cambridge-based organization aiding Ukraine, at the Rivera Recital Hall of Rivers Conservatory.    [continued]

Who can complain when a great orchestra and inspiring leader fearlessly surf a constantly cresting, evening-length, Straussian wave? Only those who had expected the composer’s Four Last Songs at Symphony Hall on Thursday night.    [continued]

Symphony Hall resonated Thursday with instrumental singing. Under guest conductor Alan Gilbert, La Mer chanted, swept with sensations and brushed colors, Bernard Rands echoed Debussy obliquely, and Joshua Bell “sang” in Beethoven.    [continued]

The oldest work on the program clocked in at just eight years of age, though the oldest composer had reached his 92^nd year. On Sunday,  Collage New Music once again rewarded its enthusiastic Pickman Hall following.    [continued]

Putting across cosmopolitan-sounding Russian composers at Jordan Hall yesterday afternoon, Boston Symphony Chamber Players delivered with a high polish that did not stint on enthusiastic advocacy and relish.    [continued]

Flutist Emi Ferguson and guitarist Michael Poll shared many gems in  “The Court, the Palace, the Ocean, the Trees” at the Stone Church in Gilbertville on Sunday.    [continued]

Quatour pour la fin du Temps poured through Longy’s Pickman Hall Saturday evening. At the end, Gabriela Diaz’s heaven-sent violin left us where the devout Catholic Olivier Messiaen wanted us to be—Paradise.    [continued]

BMOP painted a well-received musical portrait of its resident composer Ellen Taaffee Zwilich at Jordan Hall on Friday evening. Her compositional voice relies heavily on contrasts among different instruments, rhythms, dynamics, and styles in a melodic yet refreshingly modern manner.    [continued]

Benjamin Zander led the Boston Philharmonic, soloists, and choruses memorably in the longest symphony in the mainstream repertoire at Symphony Hall Last Night.    [continued]

Boston Philharmonic’s Mahler 3^rd, lovingly prepared and superbly conducted by our own venerable Benjamin Zander, rose to something more than merely fabulous; it was superb in execution, expression, and faithfulness to Mahler’s specifically detailed intention at Symphony Hall on Friday.    [continued]

Even “When the World As You’ve Known It [seemingly]Doesn’t Exist,” the Boston Symphony Orchestra abides. Thursday’s performances, under Anna Rakitina with French pianist Alexandre Kantorow proved the point.    [continued]

“This Tyrant, Love,” Lorelei Ensemble’s first public concert in 2 years, showcased lutenist Kevin Payne within an expanded core group before an ecstatic audience at Longy two weeks ago.    [continued]

Before a 300-person sold-out Calderwood Studio at WGBH last weekend, mysteriously bathed in an eerie, blue ‘disco’ light, Jeremy Denk gave a note-perfect interpretation of this magisterial work.    [continued]

In Chameleon Arts Ensemble’s eclectic mix of chamber music, including a world premiere, three unfamiliar 20^th-century works , and one chestnut, the pieces informed each other and offered a coherent arc, from lightness to somberness to joy at First Church Boston this weekend.    [continued]