A report by the Associated Press details extensive allegations made by nine women, spanning more than 30 years. Domingo has described the allegations as "inaccurate."

Trifonov hops the A Train and not a brief encounter in sight.

Melody Eötvös will join five other composers whose works will be read and recorded by The Philadelphia Orchestra in September.

Though still relevant, Lenny’s Mass misses its mark in the city of love.

First, it’s exciting to hear the great Philadelphia Orchestra in such fine form. It augurs well for Yannick Nézet-Séguin’s tenure. And second, Daniil Trifonov seems headed towards the “for once the hype is real” stratosphere on the strength of his first studio recording for DG. This ‘concept’ album showcases Rachmaninov works for variations, one orchestral, two for keyboard only, in which the young pianist pays homage to his musical idol. The Rhapsody on a Theme of Paganini is truly sensational. This recording was made exactly 80 years after the legendary recording with the composer himself and Stokowski conducting this same orchestra. The pizzicati double bases in Variation 7 are beautifully captured but, for me, the most magical moments are Variations 11 and 12 where Trifonov’s aristocratic poise reminded me of Michelangeli (in very different repertoire) without the latter’s cold perfection. The Chopin Variations (based on the C Minor Prelude) are rarely performed and not even Trifonov’s brilliance and insight can prevent them from outstaying their welcome. The Corelli Variations are another matter. The high points here are Variation 15, (Lullaby) which Trifonov manages to suffuse with an air… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

Nearly two million people watch Philadelphia Orchestra’s impromptu Dvořák on a grounded aircraft. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

A mighty exponent of Wagner and Strauss, and the last in the tradition of Karajan and Fürtwangler, passes away at 89. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

This release can be placed without hesitation beside those of the other great Richard Strauss ensembles – the Royal Amsterdam Concertgebouw, The Dresden Staatskapelle and the Berlin Philharmonic. It was fascinating to hear the slightly kapellmeisterish Sawallisch in Also Sprach Zarathustra, the quintessentially bourgeois Strauss’s take on Nietzsche’s weird ruminations on the meaning of life. The result is outstanding, both interpretively and sonically, as Sawallisch completely avoids the blowzy schlockfest this work can become in the wrong hands. Nor does he attempt to achieve a more Hollywood effect by interfering with the duration of the opening chords. The Heldenleben is another superb achievement. This hero is less the armchair-bound Colonel Blimp of, say, Mariss Janssons – I always think Mahler nailed his carping critics far more effectively in the Rondo-Burleske movement of his Ninth Symphony than Strauss does. Sawallisch also resists the tendency to slow down unduly in the two quieter sections, which can turn them into a becalmed and interminable coda. Opting for the ending without horns also works better. The perspective and inner detail make this a demonstration-quality CD. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in