Cameron Kelsall
Matthew Polenzani returned triumphantly to his comfort zone in a Philadelphia Chamber Music Society recital on April 2.
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La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
The tragic speaker of Schubert’s Winterreise makes his fateful journey but once, yet some singers cannot help trodding the path again and again.
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
It seemed like such a great idea on paper.
Boston Symphony Orchestra recently confirmed an infinitely renewable contract upon Andris Nelsons, its music director since 2014. To understand why, one needed little more evidence than the outfit’s recent visit to Carnegie Hall.
When the Staatskapelle Berlin announced a two-night engagement at Carnegie Hall performing all four Brahms symphonies, I immediately made a note in my calendar to attend. I also wondered who would be the conductor when the announced Daniel Barenboim inevitably withdrew.
It took more than 25 years for Harmony, the passion project of singer-songwriter Barry Manilow, to reach Broadway, where it opened recently at the Ethel Barrymore Theatre.
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
In Handel’s Rodelinda, a usurped monarch, believed dead, returns to avenge his deposition and reclaim the woman he loves.
Renée Fleming arrived at Carnegie Hall on May 31 with something to prove.
This Holländer offers neither a clear narrative vision for the work nor a sense of turbocharged drama; it simply sits on the Met’s cavernous stage as a dull gray mass.
Here’s an update for those keeping up with the Lohengrin casting sweepstakes at the Met.
The sharp and glitzy national tour production of Six doesn’t suffer from a sense of staleness due to familiarity.
Mezzo-soprano Fleur Barron showed herself unafraid to move the expectations of classical music forward, linguistically, thematically, and culturally.
The Vienna Philharmonic brought along no star soloist for their three-night residency at Carnegie Hall this past weekend. Their programs didn’t include any commissions or flashy new works. The repertoire choices hewed closely to the core Austro-German corpus for which they are justly famous, including multiple works they had given in their world premieres.
Cotton, a world-premiere song cycle commissioned by Philadelphia’s Lyric Fest, takes its audience on a journey through Black American history that extends from the Deep South to the contemporary urban landscape.
A main theme in Becky Nurse of Salem is how history is distorted by those who get to tell it.
Perhaps the quirkiest of Mahler’s nine symphonies, the Fourth fits nicely with Yannick Nézet-Séguin’s somewhat idiosyncratic style.
As the focal point of the The Far Country, Eric Yang anchors the production with a cool steadiness that only occasionally betrays a sense of urgency beneath his patient countenance.
Sondra Radvanovsky eschewed the customary stuffiness of the recital format, often speaking directly to the audience and putting her selections in a highly personal context.
Trouble was afoot from the first selection onward.
Countertenor Aryeh Nussbaum Cohen‘s star is surely on the rise.
