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

Jan 16, 2010 · Articles · 5 minute read

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

Jan 16, 2010 · Articles · 3 minute read

"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

Jan 09, 2010 · Articles · 6 minute read

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

Dec 22, 2009 · Articles · 4 minute read

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

Dec 22, 2009 · Articles · 3 minute read

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

Dec 15, 2009 · Articles · 2 minute read

Roundup: Orchestra's Wagner, Dolce Suono's Tango, Trio Cavatina

Wagner and the tango, re-examined

The Philadelphia Orchestra and the Dolce Suono chamber players presented two contemporary additions to the grand tradition of instrumental suites taken from opera and ballet music.

Tom Purdom

Dec 15, 2009 · Articles · 4 minute read

Schumann Trio's debut

Do I hear a clarinet?

In its much-anticipated Philadelphia debut, the Schumann Trio demonstrated why three diverse and busy musicians have chosen to join forces.

Michael Woods

Dec 15, 2009 · Articles · 3 minute read

Peter Serkin piano recital at Perelman

Professor Serkin's grand tutorial

Peter Serkin's recital at the Perelman Theater was a tutorial in the Western classical tradition, anchored in two seminal works of Arnold Schoenberg that began and ended the program. Chopin and Debussy were on hand too, but the evening's highlight was a mesmerizing performance of Charles Wuorinen's ferocious Scherzo, a work written for Serkin that few other pianists in the world could have played.

Robert Zaller

Dec 15, 2009 · Articles · 5 minute read

Philadelphia Orchestra plays Wagner (1st review)

Where's the beef? Or: Wagner sans drama

The Philadelphia Orchestra demonstrated that Wagner without drama can be beautiful. It can also put you to sleep.

Steve Cohen

Dec 12, 2009 · Articles · 2 minute read