At a benefit concert to aid the emergency relief fund of the German Orchestra Foundation, Daniel Barenboim and the Staatskapelle Berlin perform Beethoven.
In a program originally scheduled for the Musikverein in Vienna, Martin Haselböck and his Orchester Wiener Akademie played Beethoven and Schubert both familiar and curiously obscure.
The socially-distancing Orchestre Métropolitain blazed forth so magnificently that it sounded like they were at full strength playing in their usual home, the Maison symphonique at the Place des Arts.
Philip Higham and Susan Tomes took on Beethoven, Josef Suk, Janáček, Debussy and Nadia Boulanger without missing a beat, no page turner allowed, and no intermission.
In a world where winter never comes, Ian Bostridge suggested a Cartagenan equivalent of Schubert's Winterreise experiment in which the most unimaginable beauties come at the expense of unbearable pain.
The Academy of Ancient Music played with such stylistic elegance, charm and sheer physical beauty that it was like hearing I Musici and Virtuosi di Roma for the first time in this repertoire in the 1950s.
In a world for which Neharo't Neharo't had suddenly become painfully relevant once again: the man lamenting his love in the gentle ending could have been lamenting the Kurds.
The New World Symphony's Viola Visions kicked off Wednesday night with a concert of music that spanned three centuries and gave full voice to the splendor of the instrument
Barrie Kosky's stark, spare La bohème gave it a rare spark of humanity focused on Marina Costa-Jackson's haunting Mimì, whose existence became the central focus even when she wasn't singing.
The trio gave a flowing, elegant reading of the “Archduke”in which the three fast movements were brought into line with the golden glow of the theme and variations.
Three young string quartets competing for first prize at the the13th Banff International String Quartet Competition played so well that they took the jurors into double overtime.
As he does when his spirit is most honestly invoked, Schumann spoke directly across the ages through Moraguès and Pinto-Ribeiro, and in the process allowed the two musicians to reveal the dimensions of their own love for music.
Eldar Nebolsin, Corey Cerovsek and Gary Hoffman did not completely answer whether Tchaikovsky's Piano Trio is chamber music that wants to be a ballet score or vice versa, but the intoxicating beauty of their playing banished all doubts of whether the answer mattered.
Katya Apekisheva and friends made a persuasive case for Hummel's Piano Quintet to be heard as a transitional grand romantic concerto deserving of belonging in such august company.
With more than a hundred Academy students hanging over their seats at the side of the hall like their equivalents in The Red Shoes 70 years ago, nine of the world's finest musicians took on Schubert in Lisbon.
With the eternally young Gilbert Kalish leading the way, the festival's all-star roster delighted an enthusiastic and knowledgeable Center for the Performing Arts audience.
After the Sextet there they played a tender, bittersweet arrangement of Brahms' Lullaby created the day before that sent the audience home looking forward to Franz Schubert in 2020.
