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Various Composers, If Play Is Play…: HeadSpaceDance, Royal Opera House (Linbury Studio Theatre), London, 16.04.2014 (J.O’D) Two Dancers: Christopher Akrill and Gemma Nixon Choreography: Johan Inger Music: ‘Silouan’s Song’ by Arvo Pärt Costume Designs: Sabine Lemaître Lighting Design:Si.... More »
The first presentation of Puccini's Manon Lescaut for 30 years is soulless, says Rupert Christiansen.... More »
Highlights from September 9 to 16 Tuesday, 7:15 am: Teacher Feature: Ed Schaefle, orchestra teacher at Blaine High School in Blaine, Minn. Tuesday, 5 pm: Music with Minnesotans: Penelope Freeh, dancer and choreographer. Tuesday, 7:15 pm: Teacher Feature: Ed Schaefle,....... More »
A week or so ago, I was asked if I might give some recommendations concerning recordings of Gluck. So as not unduly to repeat myself, here in this earlier posting are some of my reasons for pressing his cause so strongly, not just in his tercentenary but in any year.Orfeo et Euridice remains, of cou.... More »
Shostakovich and Schnittke string quartets, heard by Howard Smith. '... vivid sonic immediacy.'.... More »
Though lip service (if not actual airtime) is given to a whole host of musical traditions from Tejano to bluegrass to opera, Album of the Year and Record of the Year (for a single) are still the most important Grammy awards and are inevitably given to commercial popular music, making all the other awards somehow feel like consolation prizes.
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When listening to Hyperion Records’ new disc of the music of Julius Isserlis, it proves impossible to separate what you hear from the experiences of its composer. Isserlis, pictured here with his grandson, the cellist Steven Isserlis, was born in what is now Chișinău in Moldova, then part of Russia…
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The San Francisco Contemporary Music Players are beating all other local concert presenters to the punch, in a big, big way: their upcoming Sweet Thunder Festival, scheduled for April 24-27 at Fort Mason, will include first Bay Area appearances (I believe) of the JACK Quartet and International Contemporary Ensemble, aka ICE…
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There were, it seemed, enough trumpets to serve Gabriel throughout eternity – and, as fanfares go, this one was stretching a point and then some. LSO On Track had commissioned it from Sir Peter Maxwell Davies and true to the spirit of this enterprise seeking to field young musicians of mixed abilities alongside players from the London Symphony Orchestra Fanfare: Her Majesty’s Welcome commandeered its battalions of extra wind from the nearby Guildhall School and gave “Her Majesty”, and us, an earful – the kind of public racket that would easily be heard all the way over in Buckingham Palace…
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Synchronize your watches for 2015 and get your cars revved up to 88 mph! A musical adaptation of "Back to the Future" will be opening in London’s West End next year, the 30th anniversary of the Robert Zemeckis-directed film that starred Michael J. Fox.
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LONDON (Reuters) – Roald Dahl’s “Dirty Beasts” poems have a musical cadence which may explain why, after the success of stage versions of “Matilda” and “Charlie and the Chocolate Factory”, three of them are being set to music to introduce young people to the orchestra.
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“In her first role in a play, Ms. Fleming will make her debut at the [Williamstown Theater Festival] in Living on Love, a new comedy from the Tony-winning writer Joe DiPietro (Memphis), adapted from the Garson Kanin play Peccadillo. Ms. Fleming will play an opera diva at odds with her husband over the people they’ve hired to ghostwrite their autobiographies…
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A 1715 Stradivarius violin, valued in “the high seven figures,” was snatched from the arms of Frank Almond, a violinist in the Milwaukee Symphony Orchestra, after a concert this week.
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Maxwell Davis: Fanfare: Her Majesty’s WelcomeBrahms: Violin ConcertoWalton: Symphony No. 1London Symphony OrchestraJanine Jansen, violinAntonio Pappano, conductorAntonio Pappano is only an occasional collaborator with the London Symphony, but he works well with the orchestra. He delivers plenty of fire and passion, and is often extreme with his tempos and rubato…
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There were two items of note this week related to ticket pricing strategies. First up is The Metropolitan Opera (The Met), which released data detailing large losses in the wake of dynamic pricing initiatives that ushered in a wave of price increases.
Although The Met reversed the decision during Q1 2013, the damage was done and when the fiscal year was complete, they reported average attendance fell to 79 percent capacity, producing a nasty little drop in ticket revenue…
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