Gerstein and Adès Reprise Tanglewood Gig

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Celebrity Series and the Boston Symphony Chamber Players jointly offered BSO regular Kirill Gerstein and BSO Artistic Partner Thomas Adès in a two-piano concert at Jordan Hall on Friday night, including some of the most familiar 20th-century repertory in unfamiliar guises.    [continued]

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BLO’s Lucretia a Potent Symbol

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Boston Lyric Opera’s new production of Benjamin Britten’s The Rape of Lucretia premiered this past Monday at Artists for Humanity EpiCenter, an unusual space for a rarely seen 20th-century opera. The Tyrant is overthrown because of a sexual transgression. This rings true today as for the bards of ancient Rome.    [continued]

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Competent Jephtha Lacks Spark

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Handel’s Jephtha, in Boston Baroque’s show in Jordan Hall Friday, night left me craving catharsis. In the title role, tenor Nicholas Phan exhibited his customary careful musicianship, with the round refinement of a bowler hat, and plosive Ts crisp enough to hang it on.    [continued]

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Chamber Players Reorient Programming

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The Boston Symphony Chamber Players concert on Sunday afternoon was a somewhat unusual affair in that the usual orientation of programming was reversed: just one 19th=century piece (and an uncommon one at that), one 20th-century classic, and two, count ‘em, two 21st-century works, including a premiere.    [continued]

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Dvořák’s Kindertotenlieder?

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The BSO rescued Dvořák’s extravagant Latin triumph of lamentation from obscurity Thursday night. Over the course of the 90-minute Stabat Mater, Andris Nelsons drew fire, sympathy and unabashedly deep feelings from the orchestra and the singers.    [continued]

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Organist Katelyn Emerson Rising

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Celebrating the near completion of the restoration of Park Street Church’s 1960 Aeolian-Skinner, Katelyn Emerson tailored her selections to the instrument, keeping her pair of stop-pullers busy making myriad changes of combinations to show off as many different tone-colors as possible.    [continued]

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The BPYO Serves Cosmic Justice

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In Britten’s Young Person’s Guide to the Orchestra, Schwantner’s New Morning for the World, “Daybreak of Freedom,” and Holst’s The Planets, Op. 32, the orchestra at Symphony Hall on Sunday paid homage to Benjamin Zander’s storied beginnings.    [continued]

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