Mixed fortunes for Petrenko and Lewis in Chicago

Von Dan Wang, 12 Januar 2015

Laden, bitte warten...

Veranstaltung anzeigen

“Rachmaninov’s florid contrapuntal writing married beautifully with the orchestra’s strengths”

Rezensierte Veranstaltung: Chicago Symphony Center, Chicago, am 8 Januar 2015

Elgar, In the South (Alassio) - Konzertouvertüre für Orchester, Op.50

Beethoven, Klavierkonzert Nr. 5 in Es-Dur "Emperor", Op.73

Rachmaninow, Symphonische Tänze für Orchester, Op.45

Chicago Symphony Orchestra

Vasily Petrenko, Musikalische Leitung

Paul Lewis, Klavier

Riccardo Muti und das Chicago Symphony Orchestra auf Abschiedstournee

Alexandra Richter, 19th January

Riccardo Muti, Chicagos Music Director Emeritus auf Lebenszeit, präsentiert in der Alten Oper Frankfurt ein italienisches Programm, das es in sich hat.

*****

Viel Bewegung mit Strauss und Tschaikowsky

Stefan Pillhofer, 15th January

Im Rahmen des noch andauernden Eröffnungsfestivals gastierte das Chicago Symphony Orchestra mit Tschaikowsky, der einen aus den Sitzen holt.

****1

Chicago Symphony Orchestra music on death: whimper then bang

Graham Meyer, 9th April

Jakub Hrůša leads the CSO in pedestrian Janáček and Rachmaninov, but Strauss's Four Last Songs and Wagner's Tristan excerpts send audiences home deeply touched.

***11

Klaus Mäkelä is speaking... Chicago is listening

Graham Meyer, 19th February

The Chicago Symphony Orchestra's Music Director Designate juxtaposes his Finnish countryman's music on their shared national epic, the Kalevala, with the heroic life limned in the tone poem of Richard Strauss.

****1

Matthew Aucoin’s Song of the Reappeared premieres in Chicago

Graham Meyer, 4th December

A strong world premiere of Aucoin's evocative and immediate Song of the Reappeared, a concerto for voice written for soprano Julia Bullock which sets vivid imagery by a poet who suffered under authoritarianism.

*****

Manfred Honeck brings his über-dramatic Mozart Requiem to Chicago

Graham Meyer, 20th November

The Austrian conductor's loudest fortes and softest pianos pull together a dramatic arc from the Requiem, other Mozart works and chant. But it's not really a funeral.

****1

Weitere Kritiken...

Dan Wang

Dan Wang is a graduate student in music history and theory at the University of Chicago.