Uncategorized
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Tan Dun, Cho-Liang Lin and the Juilliard Orchestra at Alice Tully HallThe New York Times, October 28, 2009
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Stile Antico at Corpus Christi ChurchThe New York Times, October 27, 2009
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Wu Man, the Zhang Family Band and the Li Family Daoist Band at Zankel HallThe New York Times, October 27, 2009
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La Damnation de Faust at the Metropolitan OperaThe New York Times, October 27, 2009
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Bleecker Street Opera Company: L’Amore dei Tre Re at the Theatres at 45 Bleecker StreetThe New York Times, October 20, 2009
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"An Ensemble With Many Homes Finds Another"The New York Times, October 18, 2009 An article about the Pacifica Quartet, a widely admired, award-winning string quartet that has just taken over a plum residency at the Metropolitan Museum of Art in New York City. The Pacifica Quartet takes over for the Guarneri String Quartet, which held
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Christine Brewer and Craig Rutenberg at Zankel HallThe New York Times, October 16, 2009
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Terry and Gyan Riley at (Le) Poisson RougeThe New York Times, October 13, 2009
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Sacred Music in a Sacred Space at the Church of St. Ignatius LoyolaThe New York Times, October 9, 2009
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Axiom at the Juilliard School's Peter Jay Sharp TheaterThe New York Times, October 8, 2009
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I'm way, way behind on my blogging, again. I've got three Times reviews stacked up waiting to be archived here. But at the very least, I can endeavor to make time for the really big news: Alex Ross has started a new blog, Unquiet Thoughts, on the New Yorker web site. ("Joined the home team,"
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Il Barbiere di Siviglia at the Metropolitan OperaThe New York Times, October 7, 2009
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Friedrich Kleinhapl and Andreas Woyke at the Austrian Cultural ForumThe New York Times, October 1, 2009 The unique programming offered in the Austrian Cultural Forum's little gem of a recital hall is easily overlooked, but shouldn't be: Worthy concerts happen there regularly, and practically all of them are presented free of charge. Coming soon: Music
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Yale in New York: "The Classical Legacy of Benny Goodman" at Zankel HallThe New York Times, September 29, 2009 Kudos to all the fine clarinetists who participated in this fun, lively program. And I'm just going to come right out and say this: Romie de Guise-Langlois — remember the name. Not that I remembered having
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For St. Luke's Chamber Ensemble, 'Trout' and Rain in Bryant ParkThe New York Times ArtsBeat, September 29, 2009 Shortest concert I've ever reviewed. For a complete schedule of what's in store at the Bryant Park Fall Festival this week and next—including presentations by Bargemusic, Carnegie Hall and the Metropolitan Opera—go here.
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The International Contemporary Ensemble and the Talea Ensemble at RouletteThe New York Times, September 28, 2009 Most of the pieces by composer Mario Diaz de León detailed in this review — and one more piece I omitted due to space concerns, 2.20 for string trio and electronics — are included on his excellent new CD,
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"Embracing the Orchestra as Alive"The New York Times, September 27, 2009 An article about Magnus Lindberg, recently appointed the composer in residence at the New York Philharmonic. It's nearly always impossible to summarize the entirety of an interview in a print article, no matter how ample the allotted space (and this was indeed spacious, by
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Album review: Andrew ByrneWhite Bone CountryStephen Gosling, piano; David Shively, percussionNew World RecordsTime Out New York, September 24–30, 2009(Amazon, ArkivMusic) Stephen Gosling and David Shively will be playing selections from White Bone Country on Sunday, September 27 at (Le) Poisson Rouge. Completing a most complementary program are Peter Garland's Peñasco Blanco and two pieces by
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The Voxare String Quartet and the NeoLit Ensemble at the TankThe New York Times, September 21, 2009 Here's my review of the first concert in the Ear Heart Music series, a new programming initiative at The Tank in Hell's Kitchen, curated by flutist Amelia Lukas of the NeoLit Ensemble—which, you might remember, I reviewed once
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As is frequently the case, I return to this blog in a state of utter exhaustion, and as usual that mostly has to do with my extensive work load. I won't bother you with the minutiae, except to say that a 24-continuous-hour stretch of work was involved. Near the end, I think it took me
Night After Night 