Philadelphia Orchestra takes Romeo and Juliet to the circus

Von Stephen Pritchard, 05 April 2019

Laden, bitte warten...

Veranstaltung anzeigen

“Nézet-Séguin alert to every nuance in the score”

Rezensierte Veranstaltung: Kimmel Center: Marian Anderson Hall, Philadelphia, am 4 April 2019

Prokofjew, Romeo und Julia

Brian Sanders' JUNK

Yannick Nézet-Séguin, Musikalische Leitung

The Philadelphia Orchestra

Julia Higdon, Tanz

Teddy Fatscher, Tanz

Darren Dash Robinson, Tanz

Jared Cutler, Tanz

Shchedrin's Carmen unmasked in Philadelphia

Laurence Vittes, 4th March

Even when JUNK started doing weird things, it was a great treat to watch the mighty Philadelphia Orchestra play Shchedrin 's score for only the third time in its history.

*****

Entdeckungsreise Florence Price mit Nézet-Séguin beim Musikfest Berlin

Christoph Wurzel, 1st September

Zwei starke Frauen der Musik traten beim Musikfest Berlin im Konzert des Philadelphia Orchestra hervor: als Solistin Lisa Batiashvili und als Komponistin Florence Price.

*****

Marsalis und Gonzalez-Granados: Traumpaar auf dem Konzertbildschirm

Michael Klier, 12th November

Der ungekrönte Star des Abends war Branford Marsalis, der träumerisch mit Glasunows sehnsuchtsvollen Melodien verzzauberte.

****1

A superb Salzburg sojourn: Philadelphia Orchestra plays Mozart

Cameron Kelsall, 11th April

Guest conductor Harry Bicket brings a sense of urgency to Mozart's Requiem and pulse-quickening energy to Symphony no. 40.

****1

Energy, precision and drama from the Philadelphia Orchestra

Susan Stempleski, 31st March

Marin Alsop is joined by pianist Hayato Sumino as she conducts the Philadelphians in an exhilarating program of works by John Adams, Gershwin and Prokofiev.

****1

Amy Beach’s Gaelic returns to Philadelphia after 100-year absence

Cameron Kelsall, 12th March

Conducted by Yannick Nézet-Séguin, the Philadelphia Orchestra’s latest concert also features Liszt’s Second Piano Concerto with Marc-André Hamelin.

****1

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Stephen Pritchard

Stephen Pritchard began singing as a treble at the age of eight and progressed to become a tenor in Portsmouth Cathedral Choir, the Gibbons Consort and now the English Chamber Choir. Writing about music has been at the core of his 40-year career in journalism, chiefly at the Observer. He has been known to play a pretty mean jazz double bass.