Rebecca graduated from New York University in 2012, where she studied Music and Romance Languages. She now works as an assistant editor at RILM (Répertoire International de Littérature Musicale) and as manager of contemporary music collective ensemble mise-en.
The New York Philharmonic brought two works to the stage at David Geffen Hall last week; their extremely polished rendition of Lera Auerbach's violin concerto contrasted starkly with their under-rehearsed Mahler.
According to online showcase/podcast Listening to Ladies, during the 2015–2016 season, the top 89 symphony orchestras in the US dedicated only 2% of their programs to music composed by women.
Taking time out from working on his new opera, Girls of the Golden West, which premières in San Francisco later this year, we spoke to John Adams about politics, Scheherazade.2 and where he sees the future for classical music.
Conductor Susanna Mälkki, in her Met Opera debut, led the Met Opera Orchestra in a limber performance of Ms Saariaho's gorgeous music, the first woman-authored score to be heard at the Met in 113 years.
In Jaap van Zweden's first time conducting the New York Philharmonic since it was announced, earlier this year, that he would be succeeding Alan Gilbert as music director, the orchestra sounded more enlivened than they have in months.
During Jessie Montgomery's Records from a Vanishing City, musical styles from avant-garde jazz to Angolan lullabies quarreled and overlapped, keeping our ears pricked for the duration of the piece.
Clarinetist Kari Kriikku sauntered through the aisles of both the orchestra and audience, spinning around in two complete 360s and surely dousing the flabbergasted listeners in the floor seating with saliva.
New York City is so packed with delectable curiosities that its inhabitants are prone to cases of FOMO (fear of missing out). Reviewer Rebecca Lentjes is an insider. Read her tips and squeeze the most out of your visit.
Despite the fact that few (if any) in the audience could understand ancient Greek, the emotions of the characters, and particularly the desperation of Mr Falk's Kassandra, came through with astonishing intensity.
The first night having taken place on the outskirts of town in the 'Coal Mine Bathrooms', I was curious as to where I'd land on the second night of New Opera Days Ostrava. This time I found myself at Cooltour, a more conventional theater above a coffeeshop/bookstore complete with outdoor patio from which the smell of barbecue occasionally wafted.
NODO opens with Ligeti's Aventures and Nouvelle Aventures in the old bathrooms of Coal Mine Hlubina, followed by the world première of Mr Kotík's William William in the hall upstairs.
Musically inoffensive, the soaring Romanticism further makes sense given the story, in which a cast of García-Márquezian characters float down the Amazon River on a steamboat rife with passion and yearning.
Per Nørgård's music sounds like sonified math, an algebraic equation unfurling across time and mingling with Reichian phase shifting and drum patterns.
Michael Tilson Thomas, leading the San Francisco Symphony in an invigorating performance of works by both Schubert and Mahler, emphasized the idea of repetition as an evolution rather than a lie.
In addition to incorporating twelve-tone rows for each character and within larger musical units like canons and chorales, the entirety of the opera itself is palindromic in structure, with performers whose characters died gruesome deaths during the first act returning as new characters in the third.
William Kentridge’s chamber opera Refuse the Hour emerged amid a hurricane of clashing out-of-sync metronomes, frenetic choreography, African drumming, brass glissandi, and sound-making contraptions.
The concert, which was part of Mostly Mozart’s “A Little Night Music” series of late-night events, was comprised of six preludes, six canons, and George Benjamin’s 2001 composition Shadowlines, six canonic preludes for the piano that were written for Aimard.
Alexei Lubimov’s recent late-night recital at the Mostly Mozart Festival alternated rippling, dappled notes of Debussy with the playful simplicity of Satie’s music, contrasting vivid Debussyste images with the static yet aimless wandering of Satie’s rarely-performed piano works.
