“Amid tears and sorrow”: Yo-Yo Ma and Emanuel Ax at Tanglewood

Por Kevin Wells, 04 agosto 2020

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“the Allegro vivace chased all the clouds away”

Crítica hecha desde Linde Center, Lenox el 4 agosto 2020

Brahms, Sonata para violín núm. 3 en re menor, op. 108 (Adagio)

Beethoven, Sonata para violonchelo núm. 3 en la mayor, Op.69

Mendelssohn, Song without words in D major, Op.109

Yo-Yo Ma, Violonchelo

Emanuel Ax, Piano

Haitink, Ax y la LSO: perderse en la aventura conocida

Ramón del Buey Cañas, 23rd October

Arranca la temporada XLVIII de Ibermúsica y uno se encamina al Auditorio Nacional con el convencimiento de que asistirá a un concierto prácticamente infalible. Igual que leer el Tristam Shandy o ver Casablanca: el trance tiene aroma de ritual.

*****

Weinberg rarity overshadows John Williams at the New York Philharmonic

Cameron Kelsall, 1st March

John Williams put butts in seats with the New York debut of his Piano Concerto, but the NY Phil's first performances of Mieczysław Weinberg’s Symphony no. 5 stole the show.

****1

Matthias Pintscher: a triple threat comes to Disney Hall

Néstor Castiglione, 13th November

Los Angeles Philharmonic audiences got a taste of Pintscher as conductor, concerto partner, and composer.

*****

Worthy world premiere of John Williams’ Piano Concerto at Tanglewood

Kevin Wells, 26th July

John Williams' new concerto evokes the spirit of jazz virtuosos, paying tribute to Art Tatum, Bill Evans and Oscar Peterson.

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Emanuel Ax et Nathalie Stutzmann de l'intime aux grands espaces

Pierre Michel, 20th March

Le pianiste étatsunien a livré un Concerto pour piano n° 4 de Beethoven sobre et concentré, avant que la cheffe ne déchaîne les forces de l'Orchestre de Paris dans Wagner.

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New beginnings: Michael Tilson Thomas opens NY Phil season with Mahler

Kevin W Ng, 12th September

Michael Tilson Thomas' energy and wisdom remain undimmed in the New York Philharmonic's season opener.

*****

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Kevin Wells

Kevin Wells was bitten by the opera bug at 10, having heard a 1936 recording of Jussi Björling singing “Che gelida manina”. He has never been the same since. A student of voice, performance practice, the history of singing and opera, he holds advanced degrees in Italian and has lived and worked in Italy off and on since the 70s. La Scala became a second home as the Met had been during college daze. Now in his native Boston, he works as translator, tutor, and language coach, haunts Symphony Hall, and would haunt the Opera House had it not been demolished in 1958!