REVIEWS


Reviews

A Full-Senses Trip to the Funhouse with Scriabin & Salonen

March 4, 2024 | Steven Winn, Musical America
SAN FRANCISCO—Alexander Scriabin, to put it mildly, had a multi-track mind. His never-realized dreams for Mysterium called for a seven-day, appeal-to-all-senses piece to be staged in a cathedral built for the occasion in the Himalayan … » Read
 

Reviews

NY Philharmonic's Émigré: A Grand Idea Fails to Deliver

March 4, 2024 | Fred Cohn, Musical America
Even though Émigré is billed as “an oratorio,” it bears quite a few of the earmarks of opera. It names its characters, specifies the settings of their scenes, and derives much of its impetus from the conflicts among … » Read
 

Reviews

A Savvy Pianist in the Middle of the Room

March 1, 2024 | Steve Smith, Musical America
Taking to a topless Bösendorfer grand piano situated smack-dab in the middle of Zankel Hall on a recent Friday night, Timo Andres got busy immediately with the world premiere of Fiddlehead, a new piece he’d written for the occasion. … » Read
 

Reviews

James Conlon Continues to Recover and Uncover Voices—Convincingly

March 1, 2024 | Sarah Shay, Musical America
Since arriving at the Los Angeles Opera as music director in 2006, James Conlon has reveled in presenting works by composers silenced by the Nazis during World War II and since forgotten. His “Recovered Voices” project has brought … » Read
 

Reviews

In Boston, Benjamin Zander Turns (Back) to Mahler One at 85

March 1, 2024 | Lloyd Schwarz, Musical America
BOSTON—Forty-five years ago, the Boston Civic Symphony fired its brilliant young maestro, Benjamin Zander, for playing too much Mahler. When the entire orchestra resigned in protest, Zander started his own Boston Philharmonic, with Mahler … » Read
 

Reviews

Met's New La Forza: Davidsen Soars Among Strange Directorial Choices

February 29, 2024 | Fred Cohn, Musical America
In the Metropolitan Opera’s new Forza del destino , it isn’t “destiny” that propels the characters across time and terrain; it’s socio-political upheaval. Mariusz Trelinski’s production (seen at its February 26 … » Read
 

Reviews

Review: Ratmansky and Peck Highlight City Ballet's Winter Season

February 27, 2024 | Matthew Gurewitsch, Musical America
Another season, another chance for a living choreographer or two to contribute something lasting to the legacy of the preternaturally prolific George Balanchine. Four decades after his death, the current six-week winter chapter of The New York … » Read
 

Reviews

At Juilliard: A Labyrinthian Baroque Opera Plot, Convincingly Detangled

February 26, 2024 | Fred Cohn, Musical America
An initial reading of the synopsis for Erismena can be daunting. The scenario for Francesco Cavalli’s 1655 opera trades in the disguises and mistaken identities so prevalent in Baroque dramaturgy, along with tangled lines of desire and … » Read
 

Reviews

The Day of Wrath, Perfectly Executed

February 23, 2024 | Clive Paget, Musical America
LONDON—A program that opens with nine minutes of Giacinto Scelsi and ends with 20 minutes of Galina Ustvolskaya is perhaps not for the fainthearted. Unless, of course, you are the intrepid Patricia Kopatchinskaja [pictured]. Currently a … » Read
 

Reviews

New Music in the West Loop: Saxes and Trumpet Onstage

February 22, 2024 | Hannah Edgar, Musical America
CHICAGO—Scott Johnson left us a year ago, and the musicians he touched are still saying goodbye. The composer and guitarist died in New York City on March 24, 2023 at the age of 70. Starting with John Somebody (1982), Johnson was best known … » Read
 
 

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