Captured live a week ago at ISGM’s Calderwood Hall before 19 persons, Evren Ozel’s virtuosity, clarity and messaging inspired feelings of hope.    [continued]

Thanksgiving Thursday saw the BSO unlock its second “American Promise” stream, in which Thomas Wilkins conducted Harlem Renaissance-centered works by Jessie Montgomery, William Grant Still, Duke Ellington, and chamber music by Osvaldo Golijov.    [continued]

Returning to the virtual stage for “The Shape of Joy,” the Criers put their usual exuberance to good use.    [continued]

With solo pieces for oboe, violin, and piano in compressed time-space, Radius recently livestreamed the out-of-the-ordinary by giving ear to a lesser known contemporary composer cluster.    [continued]

Ending 260 days of silence in Symphony Hall, Ken-David Masur led the BSO in its inaugural installment of “Music in Changing Times,” a new 15-part series of multimedia streaming concerts    [continued]

A be-masked and be-distanced NEC Philharmonia (string orchestra) under guest conductor Christopher Wilkins livestreamed a lively and poised recital of 20^th– and 21^st– century pieces.      [continued]

Guerrilla Opera has embraced online programming this season with a series of “Covid experiments.” As the final event of the Boston New Music Festival, “Dreamwalker, a month-long audio-visual production, combines a group of these experiments in a veritable feast of drama, film, and music.    [continued]

Jamaica Plain Chambermusic welcomed a small but mighty audience to the Church of the Advent on the flat of Beacon Hill on an autumnal Friday night for a currently rare occurrence: in-person chamber music    [continued]

Boston Camerata brings us a virtual confection via Vimeo: Purcell’s Dido and Æneas: An Opera for Distanced Lovers as part of its #SheToo season focused on women in opera. The show, which opened Friday, runs online through November 29^th HERE.    [continued]

Thanks to excellent filmography and sound quality, the Terezin Music Foundation’s annual gala once again shared an important message in the context of a concert which melded works written by Holocaust victim-composers with pieces written before and after. A call went out for Elijah the Prophet and “We Shall Overcome” came as a reply.    [continued]

Instead of broadcasting prerecorded videos or a livestream to open its Covid season, the New England Philharmonic invited Philadelphia-based composer TJ Cole’s for a Zoom discussion and music explication.    [continued]

Fourteen Emmanuel Music players under Ryan Turner transmitted Bernard Labadie’s arrangement of Bach’s Goldberg Variations on October 24^th. The welcome online feast will remain available on YouTube.    [continued]

Five accomplished organists performed music predominantly written for romantic and symphonic organs in cathedral settings on E.& G.G. Hook & Hastings’s grand Opus 801 (1875) at the Cathedral of the Holy Cross Sunday. Watch and listen HERE.    [continued]

Violinist Robyn Bollinger and cellist Rafael Popper-Keizer broadcast “Alone Together: Celebrating Musical Community in Isolation” on October 19^th from A Far Cry’s Jamaica Plain, covering a range of genres in nine compositions including the Four Duettos of J. S. Bach,    [continued]

Promenade Opera Project’s video-chat Fidelio is the kind of event I hope we will all look back on in a year with indulgent smiles, remembering the effort needed to make any kind of performance exist in these times.    [continued]

Imagine moving through a video-game virtual world of animated cityscapes and fantasy lands, populated by animated characters who dance and sing with beautiful human voices. Alice In the Pandemic embraces the realness of virtuality as performative vehicle for a penetratingly timely libretto. The run ends on Tuesday. Click HERE for tickets.      [continued]

Artistry abounded in timbral splendidness from an online quintet of  Pro Artes Orchestra’s principals. The stream remains available HERE for a week.    [continued]

Lifetime Learning’s livestreamed concert of October 19^th featured violinist pianist Daniel Kurganov and Constantine Finehouse with two of the three Brahms sonatas for that combination.    [continued]

A Far Cry rose above the calamitous times Saturday night with creativity, grace and a gift for conviviality, delivering a riveting and deeply satisfying soirée concertante prerecorded in Pickman Hall. “Dawn Breaks” is available for purchase HERE.

The Parker String Quartet streamed String Quartet No. 3 by Bartók and Brahms’s Quartet Opus 51, No. 1 from Paine Hall on Friday with forethought and verve.    [continued]

“BCMS@Home” leaves me in a conundrum. The ensemble’s recently produced 73-minute video and hour of archival audio from 2017 and 2019, albeit familiar and comforting, join a crowded marketplace of recordings.    [continued]

For Tuesday Night New Music, four New England Conservatory composition students transmitted virtual music—some agreeable and some less so—via the NEC website and YouTube.    [continued]

In a well-crafted program of Beethoven, Morrison, and Bartók, the Balourdet Quartet brought the joy of well-played string quartets to our streaming devices.    [continued]

Garrick Ohlsson offered one of Beethoven’s shortest and one of his longest sonatas, the Op. 78 and the monumental Hammerklavier, Op. 106, from the Caroline H. Hume Hall at San Francisco Conservatory on behalf of Tanglewood Online.    [continued]

Boston Landmarks Orchestra under conductor Christopher Wilkins celebrated the centennial of the 19^th Amendment last night with music composed by women. The narration, soloists, and prerecorded clips made for a lively online outing.    [continued]