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Why don’t brass ensembles have a regular presence in the classical concert scene, in comparison to string ensembles or at least woodwind ensembles? 

Trottmann used profile, posture and facial expression to bring each song to life. 

Joyce DiDonato enchants the public of the Amsterdam Concertgebouw with a program of art songs and arias inspired by Venice.

Though Joyce DiDonato is an incredibly versatile artist, her performance at Carnegie Hall on Tuesday evening reaffirmed that she is, above all, one of the leading interpreters of Rossini today. 

Venexia, Venise, Venedig: city of singing gondoliers, loved-up couples and pigeons. That was the picture painted last night at the sold-out recital by Joyce DiDonato and her accompanist David Zobel at the Wigmore Hall.

This Easter, New Yorkers had a rare chance to hear soprano Anna Caterina Antonacci in Alice Tully Hall. It was only Antonacci’s second appearance in the city, but based on the warm welcome she received from the audience, her reputation preceded her. And by the end of this outstanding recital, it was clear that the city has been missing out on her artistry.

The intimate setting of the Wigmore Hall provided the ideal platform for mezzo-soprano Christianne Stotijn’s sensitive performance of songs by Faure, Chausson and Schumann. Her voice flowed apparently effortlessly through this varied repertoire, connecting powerfully with the audience.

Duparc disait que « la vraie musique, la seule, est la musique d'âme et d'émotion ». Il aurait trouvé avec Marie-Nicole Lemieux accompagnée par Roger Vignoles dans un programme de mélodies françaises, une parfaite illustration de son propos.