The Mostly Mozart Festival ended its season with an all-Mozart program centered on the Requiem. Paired with that was a piano concerto with Stephen Hough and the rarely-heard Meistermusik.
This was the first visit of Cincinnati Symphony Orchestra to the Proms and in their native repetoire of Bernstein and Copland they had substantial success.
Mozart Dances is a great piece of work and when paired with Garrick Ohlsson and the Mostly Mozart Festival Orchestra, it’s a terrific night at the theater.
After an exhausting multiple rehearsal week the Cincinnati Symphony Orchestra kicked off its current season with a rousing reading of Beethoven’s Fidelio Overture.
Haydn’s late, lofty achievement has the august quality of a masterwork, coupled with cheerfulness befitting a summer series that ends in the month of August.
A blazing performance by violinist Patricia Kopatchinskaja and a mildly disappointing Mozart Requiem round off New York’s annual Mostly Mozart Festival
The Camerata Salzburg’s evening of Mozart, Enescu and Vaughan Williams at Berlin’s Konzerthaus was a crisp and bubbling performance that stimulated the intellect as well as the emotions. Beginning the evening with George Enescu’s Two Intermezzi for String Orchestra, the Camerata swept audience members away into a world gone, but too lovely to be forgotten.
Now in its fourth and final week, the Mostly Mozart Festival welcomed one of the biggest names on its lineup, Joshua Bell, to Avery Fisher Hall as guest soloist. Music Director Louis Langrée conducted the Mostly Mozart Festival Orchestra in a program of Mozart and Tchaikovsky.
Not a new production, the Metropolitan Opera’s staging of Dialogues des Carmélites, originally directed by John Dexter in 1977, was nonetheless fresh and compelling in its approach and not at all tired, despite its age.
New York’s Mostly Mozart Festival continued Friday evening with three works, all marvelous and presented in reverse-chronological order. After Witold Lutosławski’s Muzyka żałobna, the orchestra and conductor Louis Langrée were joined by French pianist Jean-Efflam Bavouzet for Bartók’s Piano Concerto no. 3, and the concert concluded with Mozart’s Symphony no. 39 in E flat major.
In their latest set of concerts, the Mostly Mozart Festival on Tuesday presented two works: one largely unknown, the other among the most beloved in the standard repertoire. The first, Luciano Berio’s 1989 Rendering, is fragmented and open-ended. The second, Beethoven’s Piano Concerto no. 5, “Emperor”, about as solid and decisive as they come.
This year’s Mostly Mozart Festival at Lincoln Center opened on Tuesday evening and, to put it encouragingly, there will certainly be room for improvement as the festival continues. (The present review relates to Wednesday’s performance of the same works.
Dernière étape de leur tournée européenne, le Cincinnati Symphony Orchestra et son directeur musical Louis Langrée se produisaient à la Seine musicale. La bannière étoilée ne flottait pas sur l’île Seguin, mais c’était tout comme : le programme mettait exclusivement à l’honneur les musiques du « Nouveau Monde ».
Il est tentant de plaquer sur l’essence poétique du livret de Maeterlinck, à la fois illogique et cohérent, des relectures, des idées de mise en scène ou des projections plus ou moins pertinentes – en bref : de rationnaliser un propos laissé volontairement à l’imagination.
On nous avait certes garanti une production exempte de têtes emperruquées et de décors à dorures, mais pas grand-chose ne nous avait préparé à une telle radicalité de mise en scène.
Patricia Kopatchinskaja und die Camerata Salzburg - kann sich hier Harmonie einstellen? Meine Zweifel sollten auf eindrucksvolle Weise zerstreut werden.
