Cameron Kelsall is a classical music and theater critic based in Philadelphia. He is a member of the Society of Professional Journalists and is Vice Chair of the American Theatre Critics Association. In addition to Bachtrack, his writing appears in Opera News, Parterre Box, Classical Voice North America, Broad Street Review and the Philadelphia Inquirer. He is a proud graduate of Ohio University. A hobbyist musician, Cameron plays piano, clarinet and saxophone. Twitter: @CameronPKelsall
Amid stressful cancelations and last-minute program shifts, Xian Zhang offered thrilling interpretations of classic Beethoven and Rossini works in her Philadelphia Orchestra debut.
We spoke to Floris Don, the Orchestra’s manager of artistic affairs, about that viral "Ode to joy" and all the interesting virtual concerts still waiting ahead.
A cast comprised of the world’s leading Wagnerians, under the baton of Sir Antonio Pappano, deserve better than Otto Schenk’s outdated and cartoonish production.
We speak to the Polish musical duo about their experience studying at the Teatr Wielki Akademia Operowa in Warsaw and their current and future projects.
The season's first subscription concert celebrated the broad diversity of American music, focusing on composers and artists often excluded from concert halls in the past.
Conductor Yannick Nézet-Séguin and soloist Yo-Yo Ma stuck to the tried and true while ushering in a season "transformed and informed" by the pandemic's impact.
Stripped of melodramatic excess, soprano Patricia Racette and director James Darrah craft a portrait of a desperate, lonely woman that is uncomfortably, thrillingly human.
This year's festival focuses on the theme of love and offers the opportunity to mix and mingle with musicians and fellow music lovers, something sorely needed after the extended forced separation inflicted by the pandemic.
Intrepid chamber musicians braved wild weather to deliver a stirring performance of Schubert's String Quintet in C major, alongside early works from Prokofiev and Debussy.
In place of a full musical, this revue highlighted classic and contemporary songs that celebrate places and cultures, although some selections seemed questionable out of context.
