As if in pilgrimage, three resolute singers carried a melody down the nave toward the stage to open La Donna Musicale’s concert at the Church of the Covenant last Sunday. Their seamless blend with the ensemble’s six musicians set the tone for a program of love and longing that moved across some five centuries and [continued]

“The Fire Within” opened Collage New Music’s 54^th season this past Sunday in a program of extremely contemporary composers, many of whom were in attendance at Longy’s Pickman Hall. [continued]

George Frideric Handel’s 1740 L’Allegro, Il Penseroso, ed Il Moderato, a delightful musical battle between light-hearted, playful Mirth, and moody, moonlight Melancholy brought lovely strains to Symphony Hall last weekend. [continued]

Completely packed with a young-trending audience, Symphony Hall erupted into an unbridled lovefest including hoots and screams for piano-soloist Seong-Jin Cho, and long upright cheers for Andris Nelsons. [continued]

Those who braved the raging nor’easter for the first of this year’s Foundation for Chinese Performing Arts concerts were amply rewarded, as the fully collaborative concert by the accomplished 13-year partners violinist Paul Huang and pianist Helen Huang, positively enchanted. [continued]

For the inaugural Scott Nickrenz concert, four exemplary string players (YooJin Jang and Geneva Lewis, violins, Emma Wernig, viola, and Jay Campbell, cello) and pianist Conrad Tao offered intense selections stretching from the early Baroque to the Jazz Age at the Gardner. [continued]

Sanders Theater crackled with the warmth of a Roma campfire on Sunday afternoon. [continued]

Despite some questionable conceits in the dark and dangerous Boston Lyric Opera production of Rossini’s William Tell now playing at the Colonial Theater, plenty of music drama came through. [continued]

The Boston Symphony Orchestra’s second weekend brought two pieces that wouldn’t seem to have much in common, yet both ask big questions, and on Thursday both got stellar performances. Is Andris Nelsons a prophet without honor? [continued]

Sarasa selected composers born between 1632 and 1695—as well as one in 1992 for its recent concert in Cambridge. [continued]

His energized, engaged, and romantic account of Haydn’s Die Jahreszeiten with the BB Period Orchestra and Chorus fully justified the high level of anticipation for the eminent French conductor Marc Minkowski’s debut as music director of Boston Baroque. [continued]

The Friday afternoon subscription concert began with Mozart’s Piano Concerto No. 22 (K.482) and concluded with Berlioz’s Symphonie fantastique. [continued]

Winsor Music’s “Nadia Boulange Salon” Thursday evening at St. Paul’s Church, Brookline, brought back memories of my time with Mademoiselle. [continued]

The Boston Symphony Orchestra launched its 146^th season Thursday night at Symphony Hall with a program that featured celebrated cellist Yo-Yo Ma. [continued]

The inclusion of the violin version of his op 120 and a Brahms-linked violin at the joint Gardner recital of Rachael Barton Pine and Matthew Hagle on Sunday made for an unusual and outstanding homage to the composer. [continued]

Massachusetts Chamber Music Artists’ “Crossroads” offered an eclectic assortment of piano trios by Chebotaryan, Piazzolla, and Brahms at Follen Church on Saturday evening. [continued]

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]