Yo-Yo Ma performed all six Bach cello Suites Sunday from WGBH’s Fraser Studio to television, radio and streaming audiences.    [continued]

White Snake Productions’ hour-plus event packed more of an emotional punch than last year’s first “Sing Out Strong” set of ten new songs. This hybrid, multimedia experiment has set a new standard for online concerts in the age of pandemic.    [continued]

The ever bar-raising concert host Groupmuse broadcast guitarist Aaron Larget-Caplan on April 3^rd to 70 people across the world through a webcam.    [continued]

Boston Lyric Opera’s recent Norma dress rehearsal recording, sent to us wirelessly by WCRB, came up to high sonic standards, though it lacked the excitement produced by the interaction of singers and players with a live audience. The stream will be available for a month on WCRB and on the BLO website.    [continued]

Turangalîla may not be the most important piece of music composed anywhere since Le sacre du printemps, as Koussevitzky supposedly said, but it remains breathtakingly pretentious in a way that is fully refreshing even though exhausting. And, we may note that it first took life with our own orchestra.    [continued]

With piccolo’s piercing trills, trumpet’s penetrating drills, timpani’s thundering fills, orchestra’s tutti tuning, and patrons’ neglect of the intimate and considerate whisper, concert halls reach a colossal crescendo even before the downbeat.    [continued]

The Slosberg Music Center provided a live-stream to Guerilla Opera’s “Emergence Fellowship Showcase”  closed performance on Saturday night.    [continued]

To a largely empty Symphony Hall (family and friends of the orchestra were admitted) the Boston Philharmonic Youth Orchestra under Benjamin Zander took on the ambitious program of Stravinsky’s Petrushka and Berlioz’s Symphonie Fantastique for live-streaming apparatus; it worked some of the time.    [continued]

Larry Thomas Bell, a longtime presence in Boston now teaching at Berklee and, quite pertinently, one of this area’s most prominent neo-tonal composers, premiered his 24 Preludes and Fugues in all the key at Jordan Hall on Sunday. A tag team of four gifted pianists did the 12 numbers.    [continued]

With augmenting sackbuts and cornettos, the Back Bay Chorale attempted time travel to the Golden Age of Brass (and voices) Saturday night at Emmanuel Church.    [continued]

Last night the BSO played some scintillating music from more arctic climes. With Hannu Lintu conducting and Seong-Jin Cho as solo pianist, Symphony Hall resounded to the music of Þorvaldsdóttir, Prokofiev, and Sibelius. The concert repeats today and tomorrow.    [continued]

At Pickman Hall Wednesday evening, the Calidore String Quartet drew deep draughts from the master and debuted a modern homage.    [continued]

Bobby McFerrin, the vocalist responsible for the 1988 hit tune Don’t Worry Be Happy, appeared Sunday at Symphony Hall alongside multi-instrumentalist Louise Cato, bass vocalist Joey Blake, human percussionist David Worm, The Singing Tribe, and special guest Meredith Monk.    [continued]

The distinguished, award-winning, many-ventured Pittsburgh-born pianist and professor is not old in years, but on Tuesday at Seully Hall he gave a lesson in keyboard performance of a sort seldom heard in concerts anymore.    [continued]

Sudbury Savoyards kicked off its 59^th season with six spirited performances of H.M.S. Pinafore, or the Lass that Loved the Sailor which concluded on February 29^th    [continued]

After hearing the Haydn Enthusiasts at the first concert of  “Music Mondays,” I can say that the auguries look very positive for the ensemble and the series.    [continued]

Dang Thai Son returned to Jordan Hall Saturday night for his 6^th performance in Boston sponsored by the Foundation for Chinese Performing Arts. His salon-style concert of Debussy, Chopin, and Schubert invited us to dance.    [continued]

Masterworks Chorale programmed works from composers who, to some extent, musically begat one another, concluding with Ernest Bloch’s remarkably moving Avodath Hakodesh, at Old South Church in Boston on Sunday. Organist Ross Wood and baritone Ian Pomerantz highlighted the proceedings    [continued]

Boston Early Music Festival (BEMF) brought super novae performances from the ensemble and Swedish mezzo-soprano Ann Hallenberg to Emmanuel Church last Friday    [continued]

Last week’s BU Opera Institute run of the ever-popular Stravinsky-Auden-Kallman The Rake’s Progress (1951) at the new Booth Theater provided an advanced workshop show satisfying to discerning patrons and giving performers’ parents the enjoyment of seeing their tuition dollars well spent.    [continued]

Alchemist Nicolas Namoradze brought his  lab of chromatic arts to the filled-to-capacity Calderwood Hall on Sunday, wearing his transmuting intentions on his lab apron sleeve.    [continued]

Giancarlo Guerrero led the BSO in the Requiem of Maurice Duruflé, Walton’s Cello concerto with Johannes Moser, plus the Symphony Hall premiere of Helen Grime’s Lumina.    [continued]

In a program of chestnuts, the Vienna Piano Trios showed that it is possible to defy expectations, with brilliance, originality, and nary a gimmick.    [continued]

On Sunday, the Academy of St. Martin in the Fields, in its tenth appearance for the Celebrity Series of Boston, greeted a packed Symphony Hall as part of its coast-to-coast tour of the United States. Joshua Bell presided with both stasis and flair.    [continued]

The (glorious) duo of pianist Gloria Chen and violinist Arnaud Sussman made a memorable appearance at Newton’s Temple Emanuel’s on Sunday afternoon, where the large audience enjoyed two sonatas of 250^th-birthday-boy Beethoven as well as sonatas by Ravel and Debussy, and three romances by Clara Schumann.    [continued]