After tumbling deliriously to the end, if they had played one of Brahms' Hungarian Dances as an encore, they would have had them the audience dancing in the aisles.
After the New Hollywood String Quartet's first violinist went down with a rotator cuff injury, 21-year old Colburn School student, violist Johanna Nowik, saved the day.
From the moment Ehnes trilled the G major Op.96 into existence, he and Armstrong achieved the musical transparency that results from using fortepianos with leather hammers and gut strings, and only with great care and commitment when using modern instruments.
As Zaharia inhabited her role, the opera became almost entirely about her, to the extent that one wanted to watch her every movement and hear her every syllable.
When it was announced from the stage that Gustavo Dudamel would not be conducting due to a "family emergency," the orchestra played for Conducting Fellow Stephen Mulligan as if he were a maestro.
How are young quartets in America capable of scratching together a living in this exciting, uncertain time? Players from eight young quartets tell us how it happens.
Inferno, after Dante's Divine Comedy, is a 46-minute ballet score rich in astounding, ingenious, sumptuous effects with a particular genius for unlikely combinations of instruments, and only a few obvious Lisztian references.
The sound in Schumann's “Rhenish” was satisfyingly dense, rich and passionate, and the horns once more made great sailing of all their magnificent solos.
Any parallels between Rome in the first century under Emperor Titus and the United States two millennia later under Emperor Trump were lost in a Tinseltown graphic novel sweep.
Elim Chan lead the Los Angeles Philharmonic through a high-powered program of Chinese and French music that began and ended with virtuoso showpieces written less than 30 years apart.
When the Dover Quartet will arrive in Hong Kong on the heels of their exciting 2018, they will be primed to help celebrate the 10th anniversary of the Beare’s Premiere Music Festival. Launched in 2009 and formerly called the Hong Kong International Chamber Music Festival, this international event brings world-class musicians to Hong Kong to make classical music accessible to all.
Two charming operas featured splendid singing in a haze of choreography, staging and projections in a setting that had the feel of being live in a surround sound movie theater.
The audience responded as if they were hearing the Symphony for the first time. They were overwhelmed and let the musicians know it. Good start to the home stand.
