Jonathan Blumhofer
Strong discs from Edward Gardner and the BBC Symphony Orchestra, Francois-Xavier Roth and his Paris-based period-instrument ensemble Les Siècles, and the National Orchestral Institute Philharmonic, an ad-hoc summer orchestra comprised of some of the U.S.’s finest conservatory musicians.
Garth Edwin Sunderland’s new chamber adaptation of this opera’s score, is, to date, the Bernstein Centennial Year’s best and most important recording.
Anna Shelest’s new recording of piano-and-orchestra pieces by Anton Rubinstein is one of those albums that makes you want to rethink Rubinstein’s relative neglect in the broader canon – almost.
For a composer who hails from Finland but found his spiritual home in Southern California, Esa-Pekka Salonen’s is a singular musical voice.
Composer Charles Villiers Stanford’s best traits were formidable indeed.
Henry Cowell’s was an important, if now often forgotten, voice in 20th-century music.
Composer Florence Price’s lack of acceptance into the American canon is shameful.
The Altenberg-Lieder feature Alban Berg at his most direct and concise, as well as his most sumptuous.
The BLO’s production was one of the troupe’s true staging triumphs of late, transforming the Steriti Ice Rink into a 1950s-style nightclub.
Rethinking the Repertoire: Postlude
The moral should be to err in favor of the audacious. That’s what this world – and this art form – require.
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