Yannick Nézet-Séguin, leading the Met Orchestra, and Joyce DiDonato continue their exploration of Mahler at Carnegie Hall.
Led by Yannick Nézet-Séguin and Yoann Combémorel, the Curtis Symphony Orchestra proves themselves the equal of any major American orchestra in a program of Mahler, Wagner, and Dawson.
David Fox and Dan Johnson report on Yannick Nézet-Seguin‘s recent performances of Mahler’s Symphony No. 2 with the Philadelphia Orchestra in Philadelphia and New York.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
Richard Lynn bravely asks what we’re hoping to get out of the continued Peter Gelb-bashing — and whether our expectations of him have ever been fair
The Met Orchestra under Yannick Nézet-Séguin surges into summer with a mixed program at Carnegie Hall
Yannick Nézet-Séguin leads the Philadelphia Orchestra, Stuart Skelton, and Nina Stemme in a Tristan und Isolde for the ages
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
Michael Steinberg on Riccardo Muti, fascism, and who speaks through the collective voice of the Verdi Requiem.
Maximalism was on the menu last weekend at the Philadelphia Orchestra.
I’m old enough to remember when Yannick Nézet-Séguin could do no wrong.
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
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.
Perhaps the quirkiest of Mahler’s nine symphonies, the Fourth fits nicely with Yannick Nézet-Séguin’s somewhat idiosyncratic style.
While seasonally-awkward streams of Messiah abound, Trove Thursday turns instead to Berlioz’s exquisite L’Enfance du Christ from francophone forces including Stéphanie d’ Oustrac, Bernard Richter, Edwin Crossley-Mercer and Nicolas Testé (for once, sans sa femme).
All in all, Mahler’s ethereal evocation of the natural world, and the world beyond our own, is becoming old hat.
For this, the 250th edition of Trove Thursday, [hold for applause] a broadcast of a memorable evening at Carnegie Hall—and I was there: Smetana’s stirring Libuse, the Czech national opera, with a transcendent Gabriela Benackova as its titular prophetess.
We are in the midst of a titanic Beethoven onslaught prompted by the unstoppable need to commemorate the composer’s upcoming 250th birthday.
Bess is clearly Angel Blue’s part—set in the richest and most shimmering upper middle portion of her voice, and optimally suited to her persona.
Each year, when I take in a performance of Messiah by the Philadelphia Orchestra as part of my own holiday tradition, I hope it will spark some new and exciting feeling inside of me, or offer a new way of looking at the musical drama as a whole.
Maestro Yannick Nézet-Séguin, always with a gift for gab, is ever more loquacious in concerts, often talking directly to the audience.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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