Artikel von Edward Sava-Segal

In Currentzis' vision, Verdi's Requiem was both a spectacle and a soul-searching exercise for the musicians, as well as for the listeners.

Soprano Claron McFadden's pellucid voice tremendously contributed to the structural and sonic richness of Widmann's Versuch über die Fuge.

A decade after Riccardo Muti was appointed CSO’s Music Director, the chemistry between conductor and ensemble couldn’t be more evident.

Jamie Barton's rich, mellifluous mezzo is ideal for singing Orfeo.

Abduraimov's Tchaikovsky was less a display of power and agility and more about lyricism and subtlety, without ever sliding into sentimentality.

In Schubert's B-Flat Sonata, Hamelin focused on the all-present ambiguities, on the muted shifts in coloring and harmony.

A rare Bach devotee among today's immensely talented crop of under-thirty pianists, Beatrice Rana interpreted both concertos with great incisiveness.

Promoting Leonore, the original version of Beethoven's Fidelio, René Jacobs made several choices of his own, only some of them justifiable.

Andnes’ rendition was a typical battle between Dionysian and Apollonian, won by the latter.

In the Bucharest performance, the individual vocal contributions were consistently good, with some really standing out.

Centuries can envelop a musical masterpiece in a cocoon of misconceptions and false interpretations as much they leave their mark in the form of dirt and grime on a painting’s surface.

Europa Galante's musicians’ collective expertise in playing music of the 17th and 18th centuries is indisputable and was in full display once again in Bucharest. 

At the Enescu Festival n Bucharest Vladimir Jurowski celebrates the centennial of Die Frau one Schatten’s premiere.

The very talented Uzbek pianist Behzod Abduraimov is an artist whose musicality transcends the mere virtuosic prowess.

Capable of being defiant when needed, Kopatchinskaja impresses with the seemingly infinite timbral variety of her pianissimos.

Yo-Yo Ma again displayed his wonderful expressiveness, his unsurpassed talent to project over his accompaniment.

Kirill Gerstein’s interpretation of Brahms' Second Piano Concerto appeared as a true homage to the great Romanian pianist Radu Lupu.

Francesca Zambello sets the whole opera as a flashback, showing, during the prelude, the heroine surrounded by doctors and nurses in a sanatorium for patients dying from tuberculosis.

Andris Nelsons finishes his 2019 Tanglewood residency on a high note.

Rossini’s La gazza ladra in New York exposed an enthusiastic public to an auditive and visual happening that was entirely novel for many long-time opera lovers.