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A rare Bach devotee among today's immensely talented crop of under-thirty pianists, Beatrice Rana interpreted both concertos with great incisiveness.

The Orchestra of St. Luke's and Bernard Labadie came up with the excellent idea of a Bach-centered festival in New York. 

Candide is a witty satiric fable, intelligent, literary but not to a fault, and vastly entertaining. Created by a team of collaborators who fell out at different times in the work’s 52 year history – at one point or another, Lillian Hellman, Richard Wilbur, John Latouche, Dorothy Parker, Stephen Sondheim and, of course, composer Leonard Bernstein had a hand in it – it is unique in the operatic or

An unlikely double bill of Mozart and Pergolesi at the Lincoln Center's White Light Festival. 

Under Will Crutchfield’s direction the festival has focused on the rediscovery of forgotten 19th-century Italian works and celebrates the legacy of the bel canto era. 

Paul Taylor American Modern Dance is getting ready for the transition to the time when it will have to go on without its founder and creative spirit.

Affable host Richard Gere united a starry musical cast to celebrate Carnegie Hall’s 125th Anniversary Gala.

The Orchestra of St. Luke's under Heras-Casado performed an intriguing program of early works by Stravinsky, Tchaikovsky, with a stirring account of Mendelssohn's Violin Concerto as a special treat in between.

A group of excellent singers and the Orchestra of St Luke's led by Will Crutchfield succeeded in presenting a moving concert performance of Poulenc's gut-wrenching opera.

The four pieces – all U.S. premières – created a portrait of Boulez minus Boulez, reminding me of a middle school art exercise in which we were asked to draw an egg without any white crayons.

In his biography of Richard Wagner, Michael Tanner writes that Tristan und Isolde is one of two great masterpieces that have the musical brilliance, the intellectual strength and the emotional power to convert you to its philosophical cause. The other, naturally, is the St Matthew Passion.

Regular concert-goers are used to hearing the harp on a church altar or mixed in with a large symphony, barely audible above the mass of strings, bass and brass. But the St Luke’s Chamber Ensemble put the harp center stage, in an evening of 20th-century French music, no less.

Kicking off its 5th year, the World Science Festival had their opening night performance in the historic United Palace Theatre. The last of Marcus Loew’s vaudeville theatres from the 1920s and 30s, the United Palace Theatre is now home to the United Church Science of the Living Institute, and sometimes alternative rock concerts.

The Stern Auditorium at Carnegie Hall is enough to catch anyone’s breath. But it wasn’t the grandeur of the hall that struck me; it was the fact that the conductor’s podium was missing from the stage. A bold statement: it was clear Sir Roger Norrington was going to conduct the Orchestra of St. Luke’s his own way.Kicking off the evening’s performance was Haydn’s Symphony no. 39 in G minor.

Robert Spano conducted the Orchestra of St. Luke's and the Atlanta Symphony Orchestra Chamber Chorus in an ambitious concert in Stern Auditorium at Carnegie Hall. The results were as mixed as the programming, which featured J.S. Bach's Brandenburg Concerto no. 3 and Magnificat, alongside Messiaen's Trois petites liturgies de la Présence Divine.