Perhaps the quirkiest of Mahler’s nine symphonies, the Fourth fits nicely with Yannick Nézet-Séguin’s somewhat idiosyncratic style.
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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.
By David Fox
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.
By David Fox
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.
By David Fox
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.
By David Fox
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.
By David Fox
