Review: Lalande: Grands Motets, Dies Irae, Miserere & Veni Creator (Ensemble Correspondances, Sébastian Daucé )
Verve and panache abound in sumptuous, elegant celebration of French baroque.
March 28, 2022
Review: EDEN (Joyce DiDonato, Il Pomo d’Oro, Maxim Emelyanychev)
American mezzo-soprano Joyce DiDonato invites you to take five.
March 25, 2022
Review: Hans Abrahamsen: The Snow Queen (Bayerisches Staatsoper, Cornelius Meister)
Haunting adult fairy tale receives a multifaceted and powerfully moving production.
March 23, 2022
Review: Chamber Music II (Lachlan Skipworth)
A change of direction for Skipworth yields rich rewards.
March 22, 2022
Review: Dove, Weir, Martin: Choral works (Westminster Abbey Choir, James O’Donnell)
An exhilarating program of 21st-century church music from a choir in top form.
March 21, 2022
Review: Purcell: Fantazias (Chelys Consort of Viols)
The fantastical world of Purcell's private fantasies reborn.
March 18, 2022
Review: Jessye Norman sings Strauss: Five Songs & Salome (Jessye Norman, London Philharmonic Orchestra, Klaus Tennstedt)
Norman’s refulgent Salome is the icing on Tennstedt’s Straussian cake.
March 17, 2022
Review: George Walker: Five Piano Sonatas (Steven Beck)
Celebration of a pioneering artist who broke through the racial barrier.
March 16, 2022
Review: Yeshi Dolma (Tenzin Choegyal, Camerata)
Tibet and Queensland unite in beautiful display of musical and cultural unity.
March 15, 2022
Review: Kevin Puts: Silent Night (Minnesota Opera, Courtney Lewis)
First world war opera captures hearts and minds.
March 14, 2022
Review: Thomas Larcher: Symphony No 2 ‘kenotaph’, Die Nacht der Verlorenen (Andrè Schuen, Frankurt Radio Symphony Orchestra, Hannu Lintu)
Drowned refugees receive fitting and angry musical memorial.
March 11, 2022
Review: Camille Saint-Saëns: Works for Piano (Antony Gray)
Gray presents a broad survey of Saint-Saëns’ secondary works.
March 10, 2022
Review: Saint-Saëns: La princesse jaune (Judith van Wanroij, Mathias Vidal, Orchestre National du Capitole de Toulouse, Leo Hussain)
Saint-Saëns’ narcotic-laced rarity charms despite dubious depiction of the Orient.
March 9, 2022