The New York Times
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Christina Vantzou, by Julie Calbert Christina Vantzou + CC CaranaTime Out New YorkAug 8–14, 2013 The ability to write music that can seize attention or fade into the background equally well is a unique skill, and Christina Vantzou has it in abundance—no surprise for a creator who started in visual art, film and animation. Originally
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Jon Gillock, by Kenneth Dickerman/The New York Times Jon Gillock at the Church of the Ascension, March 5, 2013The New York Times, March 7, 2013 A gripping account of Messiaen's awe-inspiring Méditations sur la Mystère de la Sainte Trinité, played by a Messiaen expert on an instrument made to order as part of an ongoing
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Marcello Giordani, Eva-Maria Westbroek and Mark Delavan, by Ruby Washington/The New York Times Francesca da Rimini at the Metropolitan Opera House, March 4, 2013The New York Times, March 7, 2013 I don't often get much direct response to my Times reviews in the form of email; usually that's reserved for social-media channels and the occasional
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Jennifer Koh, by Jennifer Taylor/The New York Times Jennifer Koh at the 92nd Street Y, March 2, 2013The New York Times, March 5, 2013 I specifically remember thinking, as Jennifer Koh managed to give each voice in Bach's fugues its own sound and personality, that the shadows playing on the wall behind her served as
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Collegiate Chorale, by Richard Termine/The New York Times Collegiate Chorale at Carnegie Hall, February 27, 2013The New York Times, March 2, 2013 Here we are at Night After Night post No. 1,000. Feels auspicious, even if it's just a link to the latest of my New York Times reviews. If this particular report comes off
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Matoaka Little Eagle, Cleek Schrey, Mary MacKenzie and Jessica Schmitz, by Julieta Cervantes/The New York Times Avant Music Festival at the Wild Project, February 16, 2013The New York Times, Feb. 20, 2013 Last month I was lucky enough to get to hear a live performance of John Cage's Apartment House 1776 as part of the
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Allison Cook and William Ferguson in Powder Her Face, by Sara Krulwich/The New York Times Powder Her Face at the Brooklyn Academy of Music, February 15, 2013The New York Times, Feb. 18, 2013 New York City Opera opened its latest season with a brash, intelligent and sexy staging of English composer Thomas Adès's notorious debut
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Brentano String Quartet, by Karsten Moran/The New York Times Brentano String Quartet at Zankel Hall, February 12, 2013The New York Times, Feb. 15, 2013 The world premiere of Steven Mackey's thoughtful, engaging One Red Rose, a fascinating reflection on the day President John F. Kennedy was assassinated, shared a program with cheery Haydn and grandiloquently
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Trombonists of the Juilliard Orchestra, by Michael Nagle/The New York Times Juilliard Orchestra at Carnegie Hall, February 9, 2013The New York Times, Feb. 11, 2013 Not many people know it, but we live in a golden age for contemporary concert-band music, with both well-established composers and inventive up-and-comers creating new pieces for (mostly) collegiate wind
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Soloists and the Orchestra for the Next Century, by Tina Fineberg/The New York Times Ecstatic Music Festival at Merkin Concert Hall, February 6, 2013The New York Times, Feb. 11, 2013 Given that Penelope, a large-scale song cycle composed by Sarah Kirkland Snider and sung by Shara Worden and recorded for the New Amsterdam record label,
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International Contemporary Ensemble, by Karsten Moran/The New York Times A Contemporary Evening for Ralph at Merkin Concert Hall, February 4, 2013The New York Times, Feb. 6, 2013 This one's short on anaylsis and long on scene-setting, which seemed appropriate for an event that was more a memorial and celebration than a conventional concert. While I
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Shayna Dunkelman, Nuiko Wadden and Angélica Negrón, by Tina Fineberg/The New York Times Music of Now Marathon at the Leonard Nimoy Thalia, February 2, 2013The New York Times, Feb. 6, 2013 I almost never take issue with the way that my reviews are edited at The New York Times – after all, this is work
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Kirill Gerstein and Steven Isserlis, by Ian Douglas/The New York Times Steven Isserlis and Kirill Gerstein at the 92nd Street Y, January 27, 2013The New York Times, Jan. 29, 2013 That the brilliant cellist Steven Isserlis performs regularly at the 92nd Street Y is one of the venue's crowning glories, no matter what repertoire he
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Dorothea Röschmann, by Hiroyuki Ito/The New York Times Dorothea Röschmann and Malcolm Martineau at Zankel Hall, January 23, 2013The New York Times, Jan. 25, 2013 As I confessed among social-media circles already, of all the things I'm called upon to cover, lieder recitals are probably what I feel least comfortable writing about. Not that there
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Laurelyn Watson Chase, Stephen Quint and the NYGASP chorus, by Richard Termine/The New York Times The Yeomen of the Guard at City Center, January 18, 2013The New York Times, Jan. 22, 2013 I've written several times before about my abiding love for the Gilbert & Sullivan canon, and for the work done on its behalf
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Amanda Keil, by Ruby Washington/The New York Times Musica Nuova at Le Poisson Rouge, January 14, 2013The New York Times, Jan. 18, 2013 Congratulations to Amanda Keil and her early-music ensemble, Musica Nuova, and to director Beth Greenberg for demonstrating in "The Arianna Project" that a mix of Ariadne-inspired monodramas by Monteverdi, Haydn and Alessandro
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Zac Ballard and Christopher Burchett in Soldier Songs, by Ruby Washington/The New York Times Soldier Songs at Pace University, January 11, 2013The New York Times, Jan. 15, 2013 So glad to have seen David T. Little's first musical-theater piece, especially having been so deeply impressed and moved by his subsequent opera, Dog Days (reviewed here
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Momenta Quartet, by Chang W. Lee/The New York Times Momenta Quartet at the Stone, January 8, 2013The New York Times, Jan. 10, 2013 Another review from the series curated by David Fulmer at the Stone in January, now concluded. As it happens, Fulmer's stint was among the last of the two-week curatorial runs that have
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New Jersey Symphony Orchestra, by Richard Termine/The New York Times New Jersey Symphony Orchestra at Prudential Hall, January 4, 2013The New York Times, Jan. 7, 2013 What I posted on Twitter immediately after this concert still captures my mood succinctly: Played well, too, and a better match for Holst's The Planets than I'd anticipated, too.
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Conor Hanick, by Michelle V. Agins/The New York Times Conor Hanick and String Noise at the Stone, January 2, 2012The New York Times, Jan. 4, 2013 What an unexpected treat to discover a gifted pianist previously unknown to me…and how vaguely humiliating to discover that not only is pretty much everyone I know already aware
Night After Night 