The New York Times
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Michael Kelly, by Steven Schreiber/The New York Times Gotham Chamber Opera at Le Poisson Rouge, October 1, 2012The New York Times, Oct. 5, 2012 Baroque opera and dance, for the second time in a week. Someone wants me to earn my pay. Also, not that anyone asked, but here's an instance in which I'm taking
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Lauren Worsham in 'Dog Days,' by Ruby Washington/The New York Times Dog Days at Montclair State University, September 29, 2012The New York Times, Oct. 4, 2012 This new opera, by composer David T. Little and librettist Royce Vavrek, is without question among the most important and memorable pieces I've heard this year. That I hope
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Morton Feldman: 'Crippled Symmetry'The Feldman Soloists.Frozen Reeds fr 1/2; two CDsThe New York Times, Sept. 30, 2012 When I bought my copy of this superb new recording just under two months ago, mail order direct from the label was among your few options for acquiring it. It's still a good one, but U.S. record collectors
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Mikhail Rudy, by Ian Douglas/The New York Times Mikhail Rudy at the Guggenheim Museum, September 27, 2012The New York Times, Sept. 29, 2012 Given a bit more space and time to describe this unique intersection of Modest Mussorgsky's Pictures at an Exhibition with a video presentation based on a staging of the work created by
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TILT Brass with Nate Wooley at University Settlement, September 21, 2012The New York Times, Sept. 26, 2012 Scroll down past reviews of Kimiko Ishizaka and the Talea Ensemble for a succinct snapshot of a rich collaboration between New York agit-prop new-music ensemble TILT Brass and trumpeter Nate Wooley, who presented the fourth and latest installment
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Casper Clausen with the Wordless Music Orchestra, by Joshua Bright/The New York Times Efterklang with the Wordless Music Orchestra at the Metropolitan Museum of Art, September 22, 2012The New York Times, Sept. 24, 2012 Belatedly getting around to posting my bit on the collaboration between Danish art-pop trio Efterklang and the Wordless Music Orchestra, which
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International Contemporary Ensemble, by Michelle V. Agins/The New York Times International Contemporary Ensemble at Miller Theatre, September 20, 2012The New York Times, Sept. 22, 2012 “Credit goes to the International Contemporary Ensemble…for finding a new and illuminating context in which to position Cage, by juxtaposing his music with a benchmark serialist composition by Pierre Boulez”
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Ensemble Mise-en, by Ruby Washington/The New York Times Moving Sounds at the Czech Center, September 14, 2012The New York Times, Sept. 17, 2012 I've reviewed Moving Sounds performances twice before in The New York Times, once last year and once the year before. Allan Kozinn did the honors the first year, and also reviewed a
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Jonah and Nadia Sirota, by Hiroyuki Ito/The New York Times “The Sirotas Play Sirota” at the Manhattan School of Music, September 13, 2012The New York Times, Sept. 17, 2012
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ACME, by Michael Appleton/The New York Times American Contemporary Ensemble at Le Poisson Rouge, September 11, 2012The New York Times, Sept. 12, 2012 This one posed difficulties, and one most of all: It was hard to get over my pre-existing feelings of ambivalence toward Steve Reich's WTC 9/11 — its methods, tone and message —
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“Spotlight Illuminates Work by 2 Composers”The New York Times, Sept. 9, 2012 Just back from a brief but badly needed vacation to find the annual New Season issue of The New York Times Arts & Leisure section is out. I haven't had any time to digest this year's epistle, but for years now (since long,
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Karen Gillan, Matt Smith, Chris Hardwick and Caroline Skinner outside the Ziegfeld Theater Q&A, Caroline Skinner, Executive Producer of Doctor WhoThe New York Times Artsbeat, August 29, 2012 Prior to the preview screening of the Doctor Who season premiere, "Asylum of the Daleks," at the Ziegfeld Theater last Saturday night, described in the previous post,
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"A Warm Welcome for 'Doctor Who' in New York"The New York Times Artsbeat, August 26, 2012 In a reasonably spontaneous yet entirely natural departure from my usual beat, on Saturday evening I covered BBC America's American-debut preview of “Asylum of the Daleks,” the first episode from the forthcoming seventh season of Doctor Who. The episode,
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Pauline Oliveros at the Bang on a Can Marathon, by Jennifer Taylor/The New York Times "Strange Sounds Led a Composer to a Long Career"The New York Times, August 12, 2012 Profiling the composer, improviser and teacher Pauline Oliveros for The New York Times was an incredible privilege; the only problem is that it
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International Contemporary Ensemble, by Hiroyuki Ito/The New York Times International Contemporary Ensemble at Rose Theater, August 5, 2012The New York Times, August 7, 2012 An amazing performance by the International Contemporary Ensemble, whose performances at the Mostly Mozart Festival this year mark the start of a tenth-anniversary season chock-full of musical marvels and
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Phil Kline's dreamcitynine, by Richard Termine/The New York Times Phil Kline's dreamcitynine at Lincoln Center, August 3, 2012The New York Times, August 6, 2012 You can still hear the 60 stories Phil Kline commissioned for dreamcitynine, his intriguing and impressive tribute to John Cage (and to Indeterminacy in specific), at Lincoln Center through
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Caroline Chin and Brian Snow, by Richard Termine/The New York Times Caroline Chin and Brian Snow at Spectrum, July 31, 2012The New York Times, August 2, 2012 Be it ever so humble, there's no place like home for intimate concerts enjoyed with friends old and new. That's been the operative assumption behind countless salons, soirees
Night After Night 