Evren Ozel, the Bronze Medalist of the 2025 Van Cliburn International Piano Competition, performed Book 1 and Book 2 of Debussy’s Preludes for the Foundation of Chinese Performing Arts Summer Series last Friday. [continued]

This 38th season of the Foundation for Chinese Performing Arts, founded and steered by the vision and generosity of Cathy Chan, enjoyed its climax at Jordan Hall in a concert of the Mercury Orchestra with conductor Channing Yu and pianist Kelvin Tang featuring two giants of the Romantic Era, Schumann and Brahms. Mercury created a [continued]

The young pianist took to the stage Thursday night in NEC’s Williams Hall; nothing but the music exists for her, or for us, when she allows listeners to enter her world. [continued]

Taiwanese Pianist Kai-Min Chang performed Brahms, Scriabin and Schubert for the Foundation for Chinese Performing Arts series on Monday at NEC’s Williams Hall. [continued]

The Boston Symphony invited a group of dancers to perform one or more of Graham’s dances in the Koussevitzky Music Shed on Friday the 14^th. [continued]

Kevin Ahfat gave a stunning recital spanning three centuries, from J. S. Bach to Alban Berg, in the Foundation of Chinese Performing Arts series on Monday at NEC’s Williams Hall. [continued]

Pianists Marc-André Hamelin and Charles Richard Hamelin, unrelated except for their pianistic skills and talent, dispensed exhilaration and magic at Shalin Liu on Sunday afternoon. [continued]

With Duo Chinoiserie (guzheng and guitar), the Foundation for Chinese Performing Arts redirected  expectations at Williams Hall on Friday. [continued]

Heard alongside arrangements of Bach and an inventive reimagining of Holst’s The Planets, John Adam’s Hallelujah Junction also served as an intermediary between the inner and outer worlds as The Psychopomp Ensemble explored the deeply personal and the cosmically expansive when they dispatched these works with whimsical assurance Tuesday night at NEC’s Williams Hall. [continued]

Yutong Sun delivered a Herculean program in the Chinese Performing Arts concert series at Williams Hall on Monday: Beethoven’s Hammerklavier and Opus 109, 110, and 111. [continued]

[continued]

Resplendent and flamboyant with sparkling red sequins, including on his shoes, Jean-Yves Thibaudet bounded onto the Shalin Lui stage Sunday with all 24 Debussy Preludes. [continued]

Yo-Yo Ma and a veritable horde of cellists—every member of the BSO cello section and the Tanglewood Music Center Orchestra cello section poured onto the Ozawa Hall stage on Thursday. [continued]

Han Chen’s “Departure: Music of Farewell and Emergence” traced a massively emotive and technically astonishing programmatic arc at NEC’s Williams Hall on Friday night. [continued]

Music Director Christopher Wilkins led a 200-strong ensemble through an exceptional night: Verdi’s Manzoni Requiem and Randall Thompson’s Testament of Freedom. [continued]

On Monday, August 3^rd he led the Tanglewood Music Center Orchestra’s weekly concert that is an important part of summer activities. [continued]

Dotted with a myriad red roses, Tanglewood’s Koussevitzy Shed stage shimmered like polished marble on Sunday afternoon as Andris Nelsons led Mendelssohn’s Rhenish and Mendelssohn’s Scottish. [continued]

Tanglewood’s first ever complete performance of Mozart’s Le nozze di Figaro on Saturday night brought together a stellar cast of singers, a joyous opera-pit-sized BSO, and a subtly subversive Andris Nelsons, determined to immerse us in the sheer power and beauty of Mozart’s score. [continued]

“You should hear her in person,” my breakfast companions said last Sunday morning (7/26)). “She’s amazing.” They had come the whole way from Tokyo to see the young violin prodigy Himari, who made her Boston Symphony Orchestra and Tanglewood debut that afternoon at the Koussevitzky Shed. [continued]

When Esa-Pekka Salonen stepped up to the podium at Tanglewood’s Koussevitzky Shed Friday night, he was greeted by BSO musicians wearing red roses on their summer whites, silently affirming their support for their own cherished and now demoted conductor Andris Nelsons. [continued]

A packed Ozawa Hall and lawn greeted the Danish String Quartet warmly on Thursday night for its Stravinsky, Beethoven, and Nordic folk arrangements. [continued]

As Tanglewood’s 2026 Festival for Contemporary Music ended Tuesday, the TLI (Tanglewood Learning Institute) offered a fitting capstone discussion between composers Esa-Pekka Salonen and Gabriella Smith this Tuesday entitled: “Shaping Sound.” [continued]

If the works by Maya Miro Johnson, Jessie Cox, Delfin Demiray, and Hannah Ishizaki we heard are any indication of the future mainstream, then “…we may be in for a wild ride,” according to Esa-Pekka Salonen. [continued]

Gabriella Smith, Alisson Kruusmaa, Anna Berg, and Lisa Streich all have something to say through music about the world and their places in it. Each had a work aired as part of the Festival of Contemporary Music Saturday night at the Linde Center. [continued]

Alyssa Wang and the Boston Festival Orchestra obtained extremely creditable results in early Mozart and overlooked Bruckner at Jordan Hall on Sunday. [continued]