Acceda a su sesión para gestionar las alertas, su agenda o lista de preferencias personal, guardar sus búsquedas recientes, comentar acerca de artículos y reseñas o si quiere incluir eventos.
Laurence was born and grew up in Los Angeles; his father was a writer and his mother a teacher. He trained as a cellist, a librarian and a critic. His company was a major supplier to the music and recordings collections of the Library of Congress, Bibliothèque Nationale, British Library, Stanford, Harvard and Yale. He introduced French Harmonia Mundi, Hyperion, Chandos and Naxos to the North American market. Laurence believes that writing about music unleashes the potential of the classical music industry. He writes for the Huffington Post, Gramophone, Bachtrack, Strings, Audiophile Audition, and the Southern California Early Music Society.
The New World Symphony's Viola Visions kicked off Wednesday night with a concert of music that spanned three centuries and gave full voice to the splendor of the instrument
In a world for which Neharo't Neharo't had suddenly become painfully relevant once again: the man lamenting his love in the gentle ending could have been lamenting the Kurds.
Barrie Kosky's stark, spare La bohème gave it a rare spark of humanity focused on Marina Costa-Jackson's haunting Mimì, whose existence became the central focus even when she wasn't singing.
The trio gave a flowing, elegant reading of the “Archduke”in which the three fast movements were brought into line with the golden glow of the theme and variations.
Three young string quartets competing for first prize at the the13th Banff International String Quartet Competition played so well that they took the jurors into double overtime.
As he does when his spirit is most honestly invoked, Schumann spoke directly across the ages through Moraguès and Pinto-Ribeiro, and in the process allowed the two musicians to reveal the dimensions of their own love for music.
Eldar Nebolsin, Corey Cerovsek and Gary Hoffman did not completely answer whether Tchaikovsky's Piano Trio is chamber music that wants to be a ballet score or vice versa, but the intoxicating beauty of their playing banished all doubts of whether the answer mattered.
Katya Apekisheva and friends made a persuasive case for Hummel's Piano Quintet to be heard as a transitional grand romantic concerto deserving of belonging in such august company.
With more than a hundred Academy students hanging over their seats at the side of the hall like their equivalents in The Red Shoes 70 years ago, nine of the world's finest musicians took on Schubert in Lisbon.
With the eternally young Gilbert Kalish leading the way, the festival's all-star roster delighted an enthusiastic and knowledgeable Center for the Performing Arts audience.
After the Sextet there they played a tender, bittersweet arrangement of Brahms' Lullaby created the day before that sent the audience home looking forward to Franz Schubert in 2020.
After tumbling deliriously to the end, if they had played one of Brahms' Hungarian Dances as an encore, they would have had them the audience dancing in the aisles.
After the New Hollywood String Quartet's first violinist went down with a rotator cuff injury, 21-year old Colburn School student, violist Johanna Nowik, saved the day.
From the moment Ehnes trilled the G major Op.96 into existence, he and Armstrong achieved the musical transparency that results from using fortepianos with leather hammers and gut strings, and only with great care and commitment when using modern instruments.
As Zaharia inhabited her role, the opera became almost entirely about her, to the extent that one wanted to watch her every movement and hear her every syllable.
When it was announced from the stage that Gustavo Dudamel would not be conducting due to a "family emergency," the orchestra played for Conducting Fellow Stephen Mulligan as if he were a maestro.
How are young quartets in America capable of scratching together a living in this exciting, uncertain time? Players from eight young quartets tell us how it happens.
Inferno, after Dante's Divine Comedy, is a 46-minute ballet score rich in astounding, ingenious, sumptuous effects with a particular genius for unlikely combinations of instruments, and only a few obvious Lisztian references.
The sound in Schumann's “Rhenish” was satisfyingly dense, rich and passionate, and the horns once more made great sailing of all their magnificent solos.
