For his final concert program as New York Philharmonic Music Director, Jaap van Zweden led a sturdy, accurate and well-balanced reading of Mahler’s Symphony No.2, customarily referred to (though not by the composer) as the […]
Focused and confident from the start, Evgeny Kissin took a quick, perfunctory bow, and launched into an intriguing interpretation of Beethoven’s E-minor Sonata. After sounding the opening chords of the capricious and elusive first movement […]
For her new production of Carmen for Glyndebourne, Diane Paulus indicates that she aims to concentrate on Don José’s psychology and backstory. But as is increasingly the case with productions of the opera, it does so by […]
The New York Philharmonic concluded this season’s ‘The Art of the Score’ series with a screening of Steven Spielberg’s E.T. the Extra-Terrestrial. Watching the heartwarming story of the gentle lost alien and Elliott, the troubled […]
Four months after his Carnegie Hall appearance with the Boston Symphony Orchestra, Seong-Jin Cho returned, opening with one of Haydn’s few Sonatas in a minor key. After the impatiently insistent opening came a suitably sprightly […]
Wednesday’s concert at the Lighthouse concluded one of the most imaginative orchestral partnerships in the UK. As the Bournemouth Symphony Orchestra’s second-longest-serving chief conductor, Kirill Karabits bid farewell to colleagues in Poole following his fifteen-year […]
It’s not so much twice Alexander as thrice Martinů, since this double bill of operas by that composer here happily follows soon after the Royal Opera House’s equally rare staging of Larmes de couteau at the Linbury […]
The Orchestra of St. Luke’s wound up its 2023-2024 season on Carnegie Hall’s mainstage with a winning program of Brahms.featuring two choral masterpieces by Brahms including this Hall’s premiere of Begräbnisgesang (Burial Song) scored for SATB choir […]
Five years on, the Bavarian Radio Symphony Orchestra returned to Carnegie Hall now with its new Chief Conductor. In line with the ‘Fall of the Weimar Republic: Dancing on the Precipice’, the concert opened with […]
A ‘bourgeois comedy’ is how Strauss described his autobiographical opera (1924), based on a real incident in which a misdirected letter (owing to the confusion of Strauss’s name with a similar one) was wrongly interpreted […]
