Cameron Kelsall is a Philadelphia-based classical music and theater critic. He has written for The Philadelphia Inquirer, Opera News, Parterre Box, Broad Street Review, American Theatre, The Asbury Park Press and Phindie, among other publications. He holds an MA from Ohio University and has played the piano since the age of five. You can follow him on Twitter at @CameronPKelsall.
A collaborative performance of Mozart's Sonata for two pianos was not broadcast, but Pires stanched any disappoint by offering refined interpretations of Schubert.
The Scottish conductor held the podium and the piano bench in an expansive program that included Wagner, Britten, Debussy and the Georgia-based composer Carlos Simon.
Stepping in at the last minute, conductor Thomas Søndergård offered a program that didn’t fully adhere to the orchestra’s planned exploration of Berlin in the Weimar era.
This musical setting of a poem by Frances Ellen Watkins Harper is the first of four digital commissions set to premiere this spring on the Opera Philadelphia Channel.
Yefim Bronfman brings old-school showmanship to the Third Piano Concerto, while Yannick Nézet-Séguin summons the intimacy of a chamber orchestra in the Coriolan overture.
