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Hisako Kawamura shows excellence and stamina in tackling two huge concertos, while Kazuki Yamada and the Yomiuri Nippon Symphony give compelling Brahms but are less convincing in Amy Beach.

The all-female program Schultz and pianist Jonathan Ware brought to the Philadelphia Chamber Music Society spanned three centuries, three languages and several continents.

Little had planned to quit in August, but Covid-19 threw all her concert plans into disarray, but last night took a significant step towards the exit, bidding farewell to London’s Southbank Centre.

Jamie Barton and Kathleen Kelly offer a thought-provoking meditation on women as they are portrayed and as they portray themselves.

Consequential compositions by Amy Beach and Antonin Dvořák are given convincing performances at Garth Newel's Summer Chamber Music Festival.

Unjustly neglected works by Boulanger, Beach, and Clarke shine despite frustratingly inconsistent playing. 

The musically meaty Piano Quintet of Amy Beach was the centerpiece of a varied program of works by women composers.

When soprano Deborah Voigt entered the stage of Oberlin College’s Finney Chapel for her recital on Sunday evening, she was every bit the diva, resplendent in a sparkling gold gown, and with the equally grand setting of the chapel’s imposing pipe organ behind her.

The loosely-affiliated Metropolitan Museum Artists in Concert, now in its ninth season at the museum, illustrates all that is good about music-making among friends – and even family members. Two sets of siblings and numerous old friends were on stage for a concert of music inspired by the completion of the museum’s new wing of American art.

Mardi 15 et mercredi 16 juillet, les concerts donnés à 18h dans la Salle Pasteur du Corum étaient consacrés aux compositrices pionnières. Les interprètes ont pris plaisir à sortir de l’ombre des œuvres méconnues, à la beauté inédite : une excellente initiative doublée d’une réalisation impeccable.