Lydia Brown is presently pursuing her B.A. at New York University, where she studies journalism and ethnomusicology. Though she trained for many years as a classical violinist, Lydia's interests include cross-cultural musical hybridity and the effects of miscegenation on the musical output of early Irish-Americans.
Trekking through the bitter cold, devoted concert-goers made their way to the Walter Reade Theater on Sunday morning to see husband-wife piano duo Alessio Bax and Lucille Chung perform an installment of Lincoln Center’s Sunday Morning Coffee Concerts.
On Thursday evening, the Chamber Music Society of Lincoln Center presented its inaugural concert of the 2013-2014 Late Night Rose series. On the stage of Lincoln Center’s Daniel and Joanna S. Rose Studio, performers put on a delightfully curated show, featuring the works of three lesser-known Western composers: Arthur Bliss, Karol Szymanowski, and Josef Suk.
After delivering two highly lauded performances at Carnegie Hall in May, the Detroit Symphony Orchestra returned to New York City on Sunday afternoon, taking the stage at Lincoln Center’s Avery Fisher Hall to commence the 2013 Beijing Modern Music Festival.
On Thursday evening, not a seat was vacant in Alice Tully Hall for The Holy Visions, the inaugural concert of Lincoln Center Festival’s three-day performance series honoring John Zorn’s impending birthday. The series is just a small installment in Zorn@60, an international celebration of one of New York’s most revered avant-garde composers and musicians, who will turn 60 on 2 September.
In keeping with the theme of Tuesday’s (Le) Poisson Rouge concert entitled “Do Something Different”, I will diverge from the ordinary by opening with the evening’s closing remark: “This is opera in New York City today!”Opera Singers Initiative founder Anna Lee excitedly delivered this terse eight-word proclamation on the venue’s dimly-lit stage, where she was joined by vocalists from Opera Singers
On Saturday evening, a collage of sound enveloped Lincoln Center’s Avery Fisher Hall as the New York Philharmonic warmed up before swarms of buzzing concert-goers.
Inside Juilliard’s Paul Hall, a splendid spectacle of geometric juxtaposition greets the eyes. The wood-paneled interior is a busy mishmash of thin vertical rectangles and squares of varying sizes, whose right angles are further contrasted by a row of glossy spherical lights on each wall.
