New York Classical Review11h
Salonen, cellist Kanneh-Mason strike sparks at Philharmonic
Like college freshman roommates paired up by some unseen dean, Shostakovich’s acerbic, past-Stalinist Cello Concerto No. 1 ...
New York Classical Review10h
Echoes of Mozart reverberate through eclectic Parlando program of rarities
One such work was Mozart, a three-act comédie musicale first performed in Paris in 1925, which went on to play in London and ...
New York Classical Review6d
New cast, conductor put focus on the music in Met’s cowboy “Carmen”
Aigul Akhmetshina brought a beguiling youth and lyricism to the title role when the production opened last New Year’s Eve.
New York Classical Review8d
Spectacular visuals make for a scenic feast in Met’s “El Niño”
El Niño finds Adams at his most lyrical, but the relentless churning of his singular, repetitive style is ever present. The ...
New York Classical Review6d
Dudamel takes the reins for Philharmonic’s mixed “Spanish” program
The thematic unity was less than met the eye; Ravel was French, inspired by Spain, and Ginastera was Argentinian.
New York Classical Review10d
Ax’s artistry illuminates familiar Beethoven, rare Schoenberg
There has been little, though, of that era talking to an earlier time, from when the foundation of Weimar music came. Pianist ...
New York Classical Review13d
Neuwirth premiere disappoints while Søndergård debut impresses with Philharmonic
The first work on the program was D’un matin de printemps by Lili Boulanger, sister of the famed composer, conductor and ...
New York Classical Review14d
MasterVoices’ superb cast provides fine advocacy for Gordon’s “Grapes of Wrath”
Ricky Ian Gordon’s opera The Grapes of Wrath was presented by MasterVoices Wednesday night at Carnegie Hall. (From l to r: Jan Constantine, Margaret Lattimore, John Brancy, Kyle Oliver, Christian ...