Dr. Chanda VanderHart is a pianist, musicologist and creative who lives, works and plays in Vienna, Austria. For more on Chanda and her projects, click here.
A more thoughtful and intentional artist is hard to come by today, and one who graces the Musikverein donning fabulous silver shoes on top of her pianistic gifts must be heaven-sent.
If in heaven there are indeed harps, then it would be hard to imagine a better angel to recruit than Anneleen Lenaerts, who performed Glière's concerto with her Philharmonic brothers and sisters in arms in the Musikverein.
Director Lotte De Beer's thoroughly realized, aesthetically rich and beautifully executed production of Janáček's masterpiece is anchored by strong performances from Nina Stemme and Svetlana Aksenova.
In much anticipated role (Kaufmann) and stage (Davidsen) debuts, this revival of Peter Grimes at the Staatsoper was much anticipated, despite a production that should be put out to sea without a paddle.
Kavakos’ restless approach was haunting, and during the cadenza he pared back his sound till it was nearly transparent, stopping breaths as we all leaned in.
Kate Lindsey’s voice is luminous, effortlessly regulated in every register, and intertwined magically with the gleaming soprano of Slávka Zámečníková, a very special new jewel in the Staatsoper ensemble who is every inch a star.
Argerich sprinted through technical runs with her characteristic articulation and breathtaking technique, and made Prokofiev's Third seem like child’s play.
All the light, tuneful melodies and tuttis of the Ninth Symphony are still somehow Shostakovich, but a Shostakovich during a rare period where he seems to be taking antidepressants.
