Jacob Ashworth’s shrewd adaptation transforms the piece into a chamber opera — eliminating the chorus and two minor characters, for a total of five cast members, and reimagining Barber’s angsty Neo-romantic score for seven instrumentalists, skillfully orchestrated by Dan Schlosberg. Director R. B. Schlather further tightens the lens with a crisp, minimalist blackbox production that intensifies the opera’s psychological underpinnings.
Jonathan Biss, acclaimed pianist, writer, and educator whom the New York Times has called “one of his generation’s most serious musical thinkers,” pondered music’s power to transcend speech in an ingeniously curated recital at Kaufman Music Center’s Merkin Hall called Words Fail!
Blier and his skilled cast, soprano Christine Taylor Price, baritone Theo Hoffman, and pianist Bénédicte Jourdois, structured their program thematically, linking the composers’ songs in pairs connected by ideas alternately obvious and obscure. The result was fascinating and enjoyable — if over-reliant on some of Sondheim’s overly familiar hits.
CMS’s latest program, a celebration of perpetual motion, was a great example of what they do. Titled Moto Perpetuo, the evening gathered a team of superb musicians to play musical chairs, in a nicely balanced program of pieces each concluding with a movement in the tradition of the perpetual motion. The moto perpetuo is a composer’s sure-fire crowd-pleasing finale — a musical demonstration of Newton’s first law (an object set in motion…)
The Colorado Symphony skied in from the Mile High City to bring Carnegie Hall an afternoon of thrilling delights under the baton of their Music Director Peter Oundjian. The headline event was guest of honor, the venerable violinist Itzhak Perlman, celebrating his 80th birthday. One of the world’s most prolific and celebrated violinists since making his debut a few blocks away on The Ed Sullivan Show in 1958, Perlman needs no introduction. But who knew he is has a comedic strain, as well?
Heartbeat Opera’s Manon! is a triumph. Rory Pelsue’s production captures the audience’s attention, and navigates the psychology of the story with gripping focus. Grimsley demonstrates a rare ability to act through coloratura. Her buoyant, agile instrument scintillated, and she delivered the English text clearly and effortlessly.
Ukrainian-Finnish conductor Dalia Stasevska led the New York Philharmonic in a program at David Geffen Hall this week that framed Joshua Bell’s performance in a rediscovered gem with equal parts hope and mourning for the people of Ukraine. An intensely riveting traversal,Benjamin Britten’s Sinfonia da Requiem, Op. 20.
Thile’s deeply personal, idiosyncratic set alternated between songs from his own oeuvre directly into extended passages of Bach. Thile’s nearly two-hour performance focused on the redemptive power of art, communing with Bach’s eternal truths supplied invaluable moments of reflection and meditation. Therapy, even — yes, Bach helps.
“The piano is a percussion instrument.” So say my notes from midway through Kariné Poghosyan’s all-Khachaturian recital at Carnegie Hall’s Weill Recital Hall. Certainly it was in Poghosyan’s hands, and she both reaped the rewards and did not entirely skirt the pitfalls of such an approach. The program, consisting of works written for the piano or arranged for it from orchestral originals, showcased both Khachaturian’s dramatic side and a more lyrical strain. The former fared very well indeed here, the latter somewhat less so.
The idea of a concert for “string quartet plus one” is an excellent one, but it does perforce move the quartet out of the spotlight. So let me say up front that the Dover Quartet (violinists Joel Link and Bryan Lee, violist Julianne Lee and cellist Camden Shaw) performed with utmost musicality and precision, not to mention stamina, through nearly 90 minutes of well-chosen, engaging recent music on the Chamber Music Society of Lincoln Center’s Sonic Spectrum IV at the Rose Studio. The soloists (percussionist Ian David Rosenbaum, clarinetist Romie de Buise-Langlois and harpist Bridget Kibbey) were likewise excellent, all three performing with commitment and intelligence.
Özgür Aydin partnered with Midori at the piano, with sturdy, substantial playing — big and assertive, yet exceedingly pliable. Just the foundational framework from which the Japanese-American virtuoso could inhabit and project a rich, yet balanced selection of German and French music. This was playing — technically and interpretively — that was truly “finished.” Consummate musicianship.
The two pianists couldn’t be more different. Wang reads from an iPad; Ólafsson has traditional sheet music and a page turner. But, their disparate sensibilities suited their duet parts, like Apollo and Dionysus — Ólafsson (on secondo, in the bass register) was grounded and detailed, a structural foundation, while Wang, on the primo, was anxious and bursting with spontaneity. The first half continued with three works by American mavericks.
New York City native Karina Canellakis, Chief Conductor of the Netherlands Radio Philharmonic Orchestra and Principal Guest Conductor of the London Philharmonic Orchestra, returned to her hometown’s Philharmonic to helm an relentlessly sensuous, yet intriguingly balanced, program of music by twentieth century composers.
The audience arrived to find Zankel Hall arranged as a theatre in the round, encircling a concert grand sharing the stage with a Lumatone, a MIDI controller with a keyboard resembling the left box of an accordion (or the Jankó keyboard), illuminated in ethereal pinks and blues, the room splashed with atmospheric lighting effects. Tao is a pianist who functions thrillingly within traditional classical music trappings, but it was no mere gimmick that his solo return to Carnegie Hall brought a downtown sense of avant-garde to midtown. It’s in his soul.
Former Secretary of State Antony Blinken spoke with eloquent gravitas as he introduced the Orchestra of St. Luke’s, and his own mother, in advance of their monumental Carnegie Hall performance of Leonard Bernstein’s Symphony No. 3, “Kaddish,” commemorating the 80th anniversary of the liberation of Auschwitz. James Conlon conducted the sizable forces — large orchestra, chorus, children’s chorus, soprano soloist, and two speakers.
The concert’s second half was devoted entirely to twentieth-century music: portions of Boulez’s own 1957 song cycle Pli selon pli were preceded by Anton Webern’s Symphony, Op. 21, and followed by Igor Stravinsky’s L’Histoire du Soldat Concert Suite. The number of players varied; the Stravinsky is a mere septet, and the Boulez piece features just vocalist, harp, keyboards, and percussion. Boulez’s embrace of variety — Bach to himself, Baroque court to mid-century modern — of both period and color palette is instructive.
Liu tore into the Prokofiev with a lion-like focus, slicing through the thorny exterior — occasionally at the expense of rhythmic definition — to savor the protein beneath. I missed some of the rattling bones and militaristic brass in the first movement, Allegro inquieto, but heard the second movement, Andante caloroso, anew. Liu handled the middle section, in which alternate realities seem to collide, with deft clarity.
