Music

1932 results
Page 152
Barber: Conservative no, Romantic yes.

Dolce Suono's Barber celebration (2nd review)

A composer with a foot in two camps

With a little help from three of Samuel Barber's protégés, Dolce Suono afforded a glimpse into the confluence of traditional and modern idioms that was Barber's hallmark.
Victor L. Schermer

Victor L. Schermer

Articles 3 minute read
Garanca: Glimpses of thigh.

Met's "Carmen' — the HD theatrical version

Swept away by those movie close-ups

My reservations about the Metropolitan Opera's new production of Carmen were swept away when I saw the luscious Latvian mezzo Elina Garanca on a big movie screen.
Steve Cohen

Steve Cohen

Articles 3 minute read
Mattila: Liquid gold.

Orchestra tackles Mahler and Strauss

Romanticism's swan song

Replacement conductor Juanjo Maena performed the scheduled Adagio of Mahler's great but incomplete Tenth Symphony and Richard Strauss's Four Last Songs, but substituted mid-period Beethoven for mid-period Martinu. The results were mixed, with Strauss faring best but sluggish tempos marring the Mahler and Beethoven.
Robert Zaller

Robert Zaller

Articles 6 minute read

Dolce Suono's Barber celebration (1st review)

He did it his way

Dolce Suono and the Curtis Institute celebrated the 100th birthday of an odd kind of iconoclast—- an individualist who refused to enlist in the avant-garde.
Tom Purdom

Tom Purdom

Articles 4 minute read
Alagna (l.), Baranca: Fatalistic.

Metropolitan Opera's new "Carmen'

Carmen's biggest challenge: Up against Franco's fascists

The Metropolitan Opera's new production of Carmen, set in fascist Spain of the 1930s, contains three outstanding elements: its Carmen, its Don José and its conductor. Their relative importance may well be in reverse order.
Steve Cohen

Steve Cohen

Articles 5 minute read
Raim: Poetic.

Chamber Music Society's all-Schubert program

With a little help from Schubert's friends

For its all-Schubert program, the Philadelphia Chamber Music Society had to replace two of its scheduled soloists. No problem, because that's pretty much the way Schubert himself got started.
Tom Purdom

Tom Purdom

Articles 3 minute read
Kim and Calleja: Notes Netrebko couldn't reach.

"Tales of Hoffman' at the Met

Play it again, Jacques

Nit-picking critics have jumped on the Metropolitan Opera's new production of Tales of Hoffman for using a “discredited” version of the Offenbach score. A more valid criticism is the treatment of the opera's central character, which is key to our understanding of the composer himself.
Steve Cohen

Steve Cohen

Articles 6 minute read
Ellenberger: Who says a principal flutist can't practice medicine?

Musicians with two careers: Pro or con?

The neurologist plays the flute, or: A musician's case for dual careers

Musicians are taught to spend their waking hours practicing, to the exclusion of all other interests. Does such single-mindedness make them better musicians? That hasn't been true in my case— nor, I suspect, was it true for dual-career musicians like Schumann, Paderewski and Charles Ives.
Maria Thompson Corley

Maria Thompson Corley

Articles 4 minute read
Stone, Ngai, Roberts: Bach as good-natured showoff. (Photo: Bill Cramer.)

Tempesta di Mare plays Bach

Putting Bach in his place

Tempesta di Mare, in one of its best concerts, surrounded Bach's Fifth Brandenburg Concerto with four well-chosen pieces by his contemporaries and forerunners.
Tom Purdom

Tom Purdom

Articles 3 minute read
Goodwin: Power of a narrative.

Handel's "Messiah' by Philadelphia Singers and Philadelphia Orchestra

The Messiah as Handel must have heard it

Handel's Messiah, often watered down to a benevolent Christmas carol, got the all-out passionate Baroque interpretation this magnificent oratorio deserves. Credit conductor Paul Goodwin, a stickler for historical intent.
Victor L. Schermer

Victor L. Schermer

Articles 2 minute read