Michael Steinberg on Riccardo Muti, fascism, and who speaks through the collective voice of the Verdi Requiem.
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Maximalism was on the menu last weekend at the Philadelphia Orchestra.
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
Perhaps the quirkiest of Mahler’s nine symphonies, the Fourth fits nicely with Yannick Nézet-Séguin’s somewhat idiosyncratic style.
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.
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
With the Philadelphia Orchestra’s Candide, they saved the best (of all possible worlds) for last.
Yannick Nézet-Séguin’s “Music of Faith” with the Philadelphia Orchestra was a sensational concert, perhaps the best I’ve heard in more than a season.
French conductor Emmanuelle Haïm debuted with the Philadelphia Orchestra this weekend, leading performances of Handel and Purcell.
Though orchestrally lavish, this “semi-staging” delivers less theater than no staging at all.
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