Music
1916 results
Page 187
Maneval improves on Brahms
The Philadelphia Chamber Music Society’s first public performance of Philip Maneval’s variation on a Brahms trio was one of the big moments in my decades of concertgoing. If you like the Brahms, you will like the Maneval because it exudes the same poetry and passion, plus something more: Unlike Brahms, Maneval makes the horn an equal partner.
Trio for Piano, Violin and French Horn,
by Philip Maneval. Thomas Sauer,
Trio for Piano, Violin and French Horn,
by Philip Maneval. Thomas Sauer,
Articles
4 minute read
Why classical audiences don't boo
Why are classical concert audiences so much more staid than their operatic counterparts? The answer may lie in the difference between a church service and a battle of gladiators at the Roman Coliseum.
Why opera audiences boo
Why are opera singers so touchy and opera audiences so rowdy? Blame it on the instrument— the human voice— and the art form. Opera audiences are a lot like opera itself— that is, lacking in subtlety and excessively emotional.
Articles
9 minute read
What was Mozart thinking?
Throughout his life Mozart remained basically clueless when it came to understanding other people’s musical capabilities or perceptions. Beethoven’s struggles endowed him with empathy for the lesser musicians who performed his pieces. But was Mozart capable of intentionally writing an easy piece? I don’t think so.
Peter Serkin at Perelman
Peter Serkin isn't a pianist for all seasons or tastes. But he gives a master class on musical style through the centuries, with Beethoven’s mightiest sonata as both pivot and climax.
Peter Serkin: Piano recital. December 12 at Perelman Theater, Kimmel Center. Philadelphia Chamber Music Society, (215) 569-8080 or www.philadelphiachambermusic.org.
Peter Serkin: Piano recital. December 12 at Perelman Theater, Kimmel Center. Philadelphia Chamber Music Society, (215) 569-8080 or www.philadelphiachambermusic.org.
Articles
4 minute read
OCP's "Cinderella' (third review)
Who cares if this tacky popcorn fired and misfired with its overdone Formica accents? Vocally (and orchestrally) it was as solid as Florentine marble.
La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts. 215-893-3600 or www.operaphilly.com.
La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts. 215-893-3600 or www.operaphilly.com.
Articles
2 minute read
AVA's "Barber of Seville'
Some fine voices revive the ancient craft of vibrato. But does The Barber of Seville need a complicated exposition through unorthodox staging? Or does that clutter matters unnecessarily?
Il Barbieri di Seviglia (The Barber of Seville). Opera by Gioacchino Rossini; directed by Kay Walker Castaldo. Academy of Vocal Arts production through December 2, 2006 at Centennial Hall (Haverford College) and Commerce Bank Arts Centre. 215 735-1685 or
Il Barbieri di Seviglia (The Barber of Seville). Opera by Gioacchino Rossini; directed by Kay Walker Castaldo. Academy of Vocal Arts production through December 2, 2006 at Centennial Hall (Haverford College) and Commerce Bank Arts Centre. 215 735-1685 or
Articles
4 minute read
OCP's 'Cinderella' (2nd review)
Rossini didn't take it seriously, So why should the Opera Company?
Close your eyes and you’ll love the sound of this production. Open your eyes and you may not. Mostly, I liked it. The cast is one of the most even, most competent the OCP has presented in recent years.
La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts. 215-893-3600 or
La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts. 215-893-3600 or
Articles
3 minute read
Orchestra's Shostakovich/Mahler bill
Conductor Christoph Eschenbach and soloist Alisa Wellerstein were looking over their shoulders in Verizon Hall the other night— and so were Mahler and Shostakovich.
Philadelphia Orchestra: Shostakovich First Cello Concerto with Alisa Wallerstein; Mahler Fourth Symphony; Christoph Eschenbach conducting. November 24, 2006 at Verizon Hall. Broad and Spruce Sts. 215-893-1900 or www.philorch.org.
Philadelphia Orchestra: Shostakovich First Cello Concerto with Alisa Wallerstein; Mahler Fourth Symphony; Christoph Eschenbach conducting. November 24, 2006 at Verizon Hall. Broad and Spruce Sts. 215-893-1900 or www.philorch.org.
Articles
5 minute read
OCP's 'Cinderella' (2nd review)
Close your eyes and you’ll love the sound of this production. Open your eyes and you may not. Mostly, I liked it. The cast is one of the most even, most competent the OCP has presented in recent years.
La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts. 215-893-3600 or
La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts. 215-893-3600 or
Articles
3 minute read