They hung over the fronts of their seats waiting for each movement to begin; they were silent, immovable once the music started. When the music stopped they exploded with joy.
Whether it’s half an opera, three quarters an operetta, or a musical and a half, Francesca Zambello’s team put together a production that was easy to fall in love with.
His fans presented him with not one but two impromptu birthday serenades before and after the Brahms. "I'm getting old," Gustavo admitted ruefully to his public. He's only 36.
In Fabio Biondi's hands Vivaldi's big violin concertos clearly surpass Mozart in mature power and beauty and rival Bach in imagination and emotional richness.
The hometown Orquesta Filarmónica de Bogotá (OFB) proves big-league as they launch the Teatro Mayor Julio Mario Santo Domingo's Bogotá es la Rusia Romántica.
The Bamberg sound remains particularly noticeable in the unanimity and broad, rich beauty of the strings and the sublimely eloquent woodwinds, and the musical authority that lies in the roots of its history.
In “five large symphonic movements”, the performance had a celebratory air, poised somewhere between Mahler's “Resurrection” Symphony and Mozart's Requiem.
Listening to Esa-Pekka Salonen conduct the Philharmonia Orchestra brought back memories of his halcyon days with the Los Angeles Philharmonic when he summoned up Sibelius with a golden magician's wand, and Beethoven with a lapidarian's curiosity.
On Saturday night, nine androgynous, saucy, rambunctious dancing witches with thick, three-foot tails and exuberant tassels, whose heritage included the Wizard of Oz and the Lion King, stole the show.
The Los Angeles Philharmonic's last week of its classical music season at the Hollywood Bowl began with romantic French music under an almost full moon played the sexy Seattle way.
Yannick Nézet-Séguin conducted his hometown Orchestre Métropolitain in a concert Hollywood couldn’t have scripted better nor the Cirque du Soleil made more fantastic.
