Artikel von Cameron Kelsall

The program paired works of two living female composers with a suite of selections from Porgy and Bess, featuring star soprano Angel Blue.

Herbert Blomstedt and Lise de la Salle proved an ideal pair in the rarely heard Piano Concerto no. 2 in D minor with the Philadelphia Orchestra.

Ravel’s L’enfant et les sortilèges made up for an uneven first half that jumped from Mozart to Harry Potter.

The French-Canadian pianist replaced an ailing Rudolf Buchbinder, kicking off the Philadelphia Chamber Music Society's first complete Beethoven piano sonata cycle.

Edward Gardner's conducting brings out the nuances of Berlioz's complex score, but The Met's concert staging lacks theatrical thrust.

The first subscription concert at the Grand Old Lady of Locust Street since 2001 nodded to the institution's august history.

Bach's crowning musical achievement made a disappointing return to the Philadelphia Orchestra repertoire after a 34-year absence.

Guest conductor Susanna Mälkki also showed her mettle in a fully realized performance of Prokofiev's Fifth Symphony.

The Philadelphia Orchestra's principal guest conductor offered a typically diverse program of Stravinsky, Peter Lieberson and Lera Auerbach.

We spoke to the Chief Conductor of Orchestre Métropolitain de Montréal about their upcoming US tour, giving back, Bruckner and more.

When conducting Mozart, Nézet-Séguin rarely displayed the wit and insight he always brings to Bruckner and Mahler.

Yannick Nézet-Séguin has resisted specialist identification, but his finesse with Strauss suggests he's Austro-Germanic at heart.

Conductor-composer John Adams put his own work in conversation with Ravel and Stravinsky.

The program also featured a compelling world premiere from composer Valerie Coleman and a stirring performance of Dvořák's “New World” Symphony.

American singers Clay Hilley and Sara Jakubiak offered performances of distinction in two fiendishly difficult roles.

Leon Botstein and the American Symphony Orchestra's attempt to position Erich Wolfgang Korngold as a midcentury musical force comes up short.

The Boston Symphony Orchestra offered a reading of Beethoven's “Pastoral” Symphony that ideally suited the bucolic surroundings.

Although Bard's production is only intermittently successful, the chance to hear this Korngold rarity live should be savored.

Musically and dramatically, Jay Lesenger's production makes a strong case for John Corigliano's sole opera.

The fast-rising Italian pianist Beatrice Rana offered a triumph of technique, but her playing lacked much emotional engagement or wit.