A Far Cry’s “Homeland,” an intricate musical journey through geographically and chronologically diverse migrations, showcased the best of the Crier’s adventurous and inclusive programming.    [continued]

The very successful premiere of Scott Wheeler’s new Sextet, a BCMS commission, took center place in Sunday afternoon’s Boston Chamber Music concert which also included Beethoven’s Quintet in C Major for Strings and Franck’s Piano Quintet in F Minor.    [continued]

Shostakovich’s two masterful piano concertos, separated by an intermission and by 24 tough years in his life, are strikingly different, though one would have been hard pressed to notice the contrast in on Saturday night’s BSO concert with the brilliant Yuja Wang. Makeshift Castle by Julia Adolphe — a BSO co-commission — played on contrasts too.    [continued]

In last night’s Foundation for Chinese Performing Arts concert at Jordan Hall, Ya-Fei Chuang gave us piano works ranging from the delicate miniature of ephemeral love to the towering immensity of eternity in works by Schubert, Chopin, CPE Bach, Ravel and Rachmaninoff.    [continued]

Odyssey roared back from a two-year covid-caused absence with a powerhouse concert traversal at Jordan Hall of Rachmaninoff’s total operatic oeuvre: Aleko, The Miserly Knight, and Francesca da Rimini.    [continued]

Lang Lang drew a young, enthusiastic full house to Symphony Hall Saturday, as three evergreen crowd-pleasers took their places alongside Carlos Simons’s Motherboxx Connection for Opening Night.    [continued]

Forget what you knew about La bohéme, and for that matter, discard all your preconceptions about opera. Without a doubt Boston Lyric Opera’s staging of Puccini’s evergreen masterpiece entered the annals of memorable shows which have occupied the legendary Colonial Theater over its 123 years.    [continued]

BSO’s opening night blissed out the mass of music-goers with a new and convenient start time of 7:30 Thursday evening at Symphony Hall. American pianist Awadagin Pratt made his BSO debut in fellow American composer Jessie Montgomery’s Rounds written for him, and he angled Bach according to his own muse.    [continued]

Sunday brought the latest in a longstanding series of benefit recitals for the continuing restoration of the magnificent E. & G. G. Hook & Hastings Organ in Boston’s Cathedral of the Holy Cross.    [continued]

We had something of an epiphany while listening to the performance Sunday by the Merz Trio (Lee Dionne, piano; Bridgid Coleridge, violin; Julia Yang, cello) on the Ashmont Hill Chamber Music series, but we’ll get to that later. This rapidly emerging young ensemble, as is its wont, imaginatively constructed a theme, “night,” meant to expose    [continued]

Revered pianist Victor Rosenbaum gave himself an 80^th birthday party cum farewell to New England Conservatory in Jordan Hall last Saturday; votaries completely packed the floor. Belying his age, Rosenbaum skipped on stage to thunderous acclaim before embarking on Brahms’s op. 118, no. 1.    [continued]

Soprano Susan Narucki and pianist Donald Berman joined at Longy School of Music at Bard College Friday evening, appraising gender-specific songs from another time.    [continued]

As chaos coalesced in the decoratively polychromatic Emerson Paramount last night, slam, bang, pow, wow, kaboom went  Cerise Lim Jacob’s Cosmic Cowboy in a Bayreuth meets Hayden Planetarium mashup of myth, madness and quotidian.    [continued]

The 2022 Boston Bach International Organ Competition concluded Sunday evening memorably with the Winners’ Concert at First Lutheran Church of Boston. The week-long competition brought 17 accomplished young organists from 14 countries and 4 continents as well as 7 judges from 5 countries.    [continued]

Maverick Concerts ended its 107^th season of “Music in the Woods” on Sunday with a solo recital by the prodigiously gifted Uzbek–Israeli pianist Roman Rabinovich offering “The Mystical World of César Franck: The Complete Music for Piano”    [continued]

Fireball pianist Heng-Jin Park and luminous violinist Irina Muresanu joined Winsor Music regulars for sometimes lively and often intriguing musicmaking at First Church of Boston on Saturday night.    [continued]

The Catalyst String Quartet delivered an altogether inspired concert opening with Haydn’s “Sunrise,” they welcomed Dashion Burton for Dover Beach and gave pride of place to music by Black Americans.    [continued]

Enterprising young conductor Julian Gau led the all-volunteer Horizon Ensemble at Church of the Covenant in Boston with two new works and a revival of Louise Farrenc’s Symphony No. 3 in G Minor .    [continued]

On Sunday afternoon, in “Music for Eugène Ysaÿe,” the Amernet String Quartet dished up, with superior respect for our delight, works of Beethoven, Chausson, Franck, and Saint-Saëns for a responsive Maverick audience.    [continued]

For Saturday’s Maverick show, music director Alexander Platt assembled forces from the Caroga Arts Collective and three important soloists for Tchaikovsky’s Serenade for Strings as well as music by Shostakovich and Alan Shulman.    [continued]

The all-Beethoven extravaganza at Jordan Hall, including Nan Ni’s prize turn for the Foundation for Chinese Performing Arts’s Fou Ts’ong International Piano Competition, found Channing Yu and the Mercury Orchestra in great form in the best of all possible concerts in Boston on Saturday night.    [continued]

Beethoven’s Ninth on Sunday August 28^th followed the long tradition of capping the summer festival by sending the audience into the world with this most programmatic of symphonies as a recessional. Given the hiatus of 2020-21, its reappearance carried a life affirming value.    [continued]

Enthusiastic fans heartily welcomed Michael Tilson Thomas back to the Koussevitzky Shed Saturday night after a few years’ absence for a memorable concert which started with  Rimsky-Korsakov’s orchestral morsel Dubinushka.    [continued]

Saturday’s evening concert at a packed Shed extending into a lawn well populated with twinkling candles and lanterns brought a still defiantly boyish Michael Tilson Thomas on stage to conduct the BSO in a program of three subtly emblematic 20^th-century works that grapple with human progress in three distinctive ways.    [continued]

Friday evening in the Koussevitzky Shed at Tanglewood, BSO Assistant Conductor Anna Rakitina presented a massive, fascinating, thrilling and profound program juxtaposing Shostakovich at two very different moments of his career with Dvořák’s magnificent Violin Concerto and Borodin’s fierce Polovtsian Dances.    [continued]