Ida’s Ardor

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The storied Sudbury Savoyards’s recent production of one of Gilbert & Sullivan’s least-performed works, Princess Ida, or Castle Adamant, at the Kirschner Auditorium Theater at Lincoln-Sudbury Regional High School from February 24 – March 2, 2024, achieved a rousing success. [continued]

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Warming, Cantabile, and Zany

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Music Mondays hosted violinist Angella Ahn and pianist Jean Schneider yesterday at the Scandinavian Cultural Center in Newton and on livestream. [continued]

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Bach and Friends Please Birthday Celebrants

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The Saturday afternoon concert offerings at First Lutheran Church’s Boston Bach Birthday celebration introduced three solo performers who brought the old composer’s music to life again in starkly different ways. [continued]

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Gaia: BSO in a Shorter Symphony

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A jazz quartet with one-of-a-kind vocalist-bassist, esperanza spalding, and the BSO with Clark Rundell contributed to “Celebrating the Symphonic Legacy of Wayne Shorter” Thursday evening. The spectacular voice, and fulfilling message should not be missed. [continued]

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Composing for 37 Years at MIT

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In the intimate but acoustically reassuring Killian Hall, with the cooperation of Collage New Music, the MIT Music Department hosted an evening of Peter Childs’s recent works. [continued]

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Mesmeric Gallicthumpery

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Imagine being in a packed Symphony Hall, listening to three beloved masterpieces played by a terrific orchestra, a brilliant, very young competition winner, and a conductor (also very young), who has been sought after by a huge number of prestigious orchestras. The hottest of hot tickets.  This  Sunday night arrived courtesy of the Celebrity Series [continued]

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Exuberant and Eternal: Beethoven’s 9th

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Conductor Raphaël Pichon possesses a knack for the daring and dramatic. His bold direction reveals an uncommon verve from even the most familiar score. And it helps that he often stages his performances in unusual venues. Ensemble Pygmalion, which he regularly leads, produced an interactive Brahms’s Requiem at a submarine base in 2021. The emotive [continued]

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Exciting, Colorful, Varied

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Friday afternoon’s BSO subscription concert, one of the most interesting musical events I have attended in many months, centered on a commissioned work and also contained a fine cohort of less-often-heard masterpieces, masterfully directed by a visiting expert, Sir Mark Elder, director of the Hallé Orchestra of Manchester. [continued]

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Saxophonist Debuts

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English saxophonist Jess Gillam’s Celebrity Series debut with American pianist Thomas Weave on Tuesday evening at Pickman Hall eclectically spanned the Renaissance to the here and now. [continued]

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Musica Sacra Warms to Minimalism

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Musica Sacra’s Danish modernist guest conductor Heinrich Christensen put together a very well-engineered and very well sung Pilgrim’s Progress of minimalism last night at First Church in Cambridge. [continued]

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Summiting a Keyboard Everest

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Minsoo Sohn gave stunning accounts of Liszt’s Consolations and Transcendental Etudes in the Foundation for Chinese Performing Arts concert series at Jordan Hall on Friday. [continued]

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BSO Does Theatrical Peer Gynt

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The Boston Symphony Orchestra, conducted by Dima Slobodeniouk, presented Edvard Grieg’s complete incidental music to Henrik Ibsen’s Peer Gynt in a theatrical adaptation conceived, written, and directed by Bill Barclay. Soprano Georgia Jarman, eight actors (playing 18 roles), and the Tanglewood Festival Chorus shared the stage. [continued]

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Civic Voicings

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On the verge of its centennial, a full-size Boston Civic Symphony thundered through Carl Nielsen’s Inextinguishable, dreamed Claude Debussy’s Faune, and introduced 16-year-old competition winner violinist Dana Chang in Henri Wieniawski’s second concerto on Sunday afternoon. [continued]

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Together and “At Odds”

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Conductor-less but not rudderless, A Far Cry’s “At Odds” celebrated the concerto grosso, which pits a small group of soloists against the forces of the ensemble at-large, at Jordan Hall on Friday night. [continued]

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Cleaving Eurydice from Orpheus

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Carolyn Abbate opens “In Search of Opera” (2001) linking the genre of opera with the butchery that severs Orpheus’ voice from his dismembered body. Sarah Ruhl, in her 2003 play “Eurydice,” and now Matthew Aucoin in his operatic setting of her text, cleave Eurydice from Orpheus, voice from instrumental music, and memory from body. The [continued]

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The Odesa Boys Connect

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The mesmerizing duo of acclaimed clarinetist Julian Milkis and virtuosic pianist Maxim Lubarsky ranged widely across a diverse repertoire for the Ballets Russes Arts Initiative sponsored event at Congregation Kehillath Israel on Thursday. [continued]

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