Mostly Mozart concludes with a deeply-felt Requiem

Par Sam Jacobson, 13 août 2018

Chargement en cours, veuillez patienter...

Voir le listing complet

Critique faite à Lincoln Center: Wu Tsai Theater, David Geffen Hall, New York, le 10 août 2018

Mozart, Meistermusik (Maurerische Trauermusik), K477 (K479a)

Mozart, Concerto pour piano no. 21 en ut majeur, « Elvira Madigan » K467

Mozart, Requiem en ré mineur, K626

Mostly Mozart Festival Orchestra

Louis Langrée, Direction

Sir Stephen Hough, Piano

Jodie Devos, Soprano

Jennifer Johnson Cano, Mezzo-soprano

Andrew Stenson, Ténor

Ryan Speedo Green, Basse

Concert Chorale of New York

Louis Langrée begins final week with Mostly Mozart Festival Orchestra

David Wolfson, 8th August

Langrée's incoherent but enjoyable program skips through five centuries of music history from Lully to Valerie Coleman.

***11

Contrasting halves from Mostly Mozart Orchestra and Heyward

Edward Sava-Segal, 4th August

Jessie Montgomery's 2016 Records from a Vanishing City enthralls, Barber’s Violin Concerto is exquisite; Schumann's Rhenish disappoints.

***11

In New York, Gemma New makes “Mostly Mozart” mostly magic

David Wolfson, 1st August

Gemma New makes a positive impressive in the Mostly Mozart Festival Orchestra's lively rendition of the “Prague” Symphony.

****1

Langrée pairs ambitious premiere with uneven Mass at Mostly Mozart

David Wolfson, 25th July

The world premiere of Iraqi-American composer Amir ElSaffar's ambitious Dhikra (Remembrance) very nearly succeeds in its ambitions.

****1

Mostly Mozart Festival Orchestra offers a Requiem for itself

David Wolfson, 5th August

Amid an uncertain future for the Mostly Mozart Festival, conductor Louis Langrée led a fiery program that overflowed with rage rather than grief.

****1

Mozart and Brahms shine in a bold, romantic glow

Linda Holt, 30th July

Romanticized but highly enjoyable Mozart performances, monumental Brahms, but more gusto than tenderness characterized the program.

****1

Plus de critiques...

Sam Jacobson

Sam Jacobson has been writing for Bachtrack since 2015 and is currently in Pittsburgh, having previously lived throughout the Midwest. A keen traveler, he endeavors to see all the great orchestras and opera houses across the US and abroad. Outside of music, he works as a software engineer. He also maintains a blog which can be read here.