Dividing his time between New York and London, Vishnu Bachani is a recent graduate of New York University in mathematics and music. Interested in tonal music theory and analysis, he has written for The Bruckner Journal and New York Classical Review and has completed analytical research on music ranging from Wagner and Bruckner to Radiohead and Massive Attack, which he regularly posts on his website. Some cherished musicians include J.S. Bach, Gustav Mahler, and Meshuggah.
La directora huésped Julia Cruz estrenó de De la alquimia el resplandor de Georgina Derbez junto con Alberto Rosado, seguido con la clásica Sinfonía del Nuevo Mundo de Dvořák.
El Cuarteto Latinoamericano comparte escenario con la Orquesta Sinfónica Nacional en una cuidada interpretación de la obra de Orbón y con Ludwig Carrasco al frente de las agrupaciones. Orquesta y director dominaron la suite de Romeo y Julieta para concluir una velada cuyo comienzo, con Wagner, fue algo opaco.
Scott Yoo dirigió la Orquesta Filarmónica de la Ciudad de México en una apasionada interpretación de la Octava sinfonía de Bruckner sondeando las profundidades de la obra.
Spano marshaled the vast forces with sensitive balance in many moments. But the difficulty of achieving a proper blend amidst the thick timbral texture prevented the performance from reaching transcendence.
The combination of a strong, spirited cast and a first-rate orchestral performance led by Daniele Callegari rendered the opera a moving experience in spite of drab staging and latent, unexplored tensions.
Stuart Skelton and Sarah Connolly were the stars of the evening, lifting the performance to a new level in what Leonard Bernstein called Mahler’s “greatest symphony”.
Eschenbach’s command of the orchestra shone most in the Adagio of Bruckner’s Ninth Symphony, where the climaxes brought out the full gravitas of the work.
Kirill Petrenko’s second night at Carnegie Hall packed a punch as the orchestra of the Bayerische Staatsoper delved deep into Strauss’ score, supporting an impressive cast of singers.
Dudamel led the Vienna Philharmonic in an impassioned Ives Second but lacked the precision and control to achieve the full dramatic effects of Tchaikovsky's Fourth.
In a work as complex and multifaceted as Mahler’s Third, plumbing the depths of the music is not a trivial task. Mehta and his orchestra shone in moments but not uniformly across the symphony.
