Philadelphia Orchestra takes Romeo and Juliet to the circus

Por Stephen Pritchard, 05 abril 2019

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

Crítica hecha desde Kimmel Center: Marian Anderson Hall, Philadelphia el 4 abril 2019

Prokofiev, Romeo y Julieta

Brian Sanders' JUNK

Yannick Nézet-Séguin, Dirección

The Philadelphia Orchestra

Julia Higdon, Bailarín

Teddy Fatscher, Bailarín

Darren Dash Robinson, Bailarín

Jared Cutler, Bailarín

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.

*****

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

When we dead awaken: Mahler 2 returns to Philadelphia

Cameron Kelsall, 8th March

Yannick Nézet-Séguin and the Philadelphia Orchestra deliver a supreme meditation on the power of music and faith.

*****

Hilary Hahn returns to the stage with the Philadelphia Orchestra

Cameron Kelsall, 13th February

After a six-month break to address persistent injuries, the bravura violinist appears in one of her signature pieces: Prokofiev's Violin Concerto no. 1.

***11

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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.