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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.
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.
Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.
During the “Salce” and “Ave Maria” in Act Four Bezsmertna turned this to magical effect, thinning out and floating her shimmering soprano into gossamer threads.
Whether one prefers more raw emotion and large-scale architecture or is thrilled by perfectly sculpted individual masterpieces, this was undeniably chamber music of the highest order.
Osborn absolutely lives the part; he negotiated formidable heights, intricate passage work and the sheer volume of notes with style and clarity as well as colour and nuance.
