Or so it sounded on Sunday afternoon, when the Viano Quartet assayed the score as part of their Celebrity Series debut at Groton Hill Music’s Meadow Hall. Winners of this year’s prestigious Avery ...

The night’s big item was the latter’s Requiem, heard in its 1948 version for organ, choir, and soloists. Originally commissioned as an orchestral tone poem by the Vichy regime, Duruflé’s score ...

What’s the deal with Dmitri Shostakovich and E-flat major? Traditionally, that key is employed to represent grandeur, nobility, heroism—think Beethoven’s Symphony No. 3 or Strauss’s Ein Heldenleben.

The end of a matter, the writer of Ecclesiastes tells us, is better than its beginning. Though that reality isn’t borne out in every situation, the sentiment largely applies to Beethoven’s nine ...

The Handel and Haydn Society might be the country’s oldest performing arts institution, but it certainly is projecting—and performing with–the vigor of youth this week. On Monday, the ensemble ...

Andris Nelsons’ annual opera-in-concert weekends with the Boston Symphony Orchestra usually showcase the conductor at his best. This year’s surely did, with the culminating installment of the ...

Who says old dogs can’t learn new tricks? The Boston Symphony Orchestra—now in its 144 th season—trotted out a fresh one with conductor Dima Slobodeniouk on Thursday night: eschewing the usual ...

“[Bleeping] family,” Jeff Goldblum’s Zeus mutters in an early episode of Netflix’s Kaos. He could easily have been referring to the dysfunctional brood at the heart of Wolfgang Amadé Mozart’s ...

A sold-out Symphony Hall witnessed a moving performance of Mahler’s Symphony No. 2 in C minor (“Resurrection”) by the Boston Philharmonic Orchestra under the baton of Benjamin Zander Friday night.

As a rule, Germans don’t do American-style hyperbole. So perhaps the billboards recently up in Berlin declaring conductor Joana Mallwitz “the next big thing” were meant more as statements of settled ...

Some ballets, like The Rite of Spring, turn up on concert programs so frequently that it can be hard to imagine experiencing them in a theater. Gabriela Ortiz seems to have taken that reality to heart ...

“A man’s reach,” Robert Browning famously wrote, “should exceed his grasp.” How welcome when a concert program does the same. Take the Boston Cecilia’s “Comfort & Joy.” Comprised of nineteen numbers ...