Classical Music
Attention is being paid today to talented composers who have been sidelined or disdained because of their race, ethnicity, religion, or sexual orientation. Reynaldo Hahn qualifies on several counts.
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One might risk hyperbole by saying so, but in this instance such recklessness is worth it: this album sounds like Brahms as he ought to be played and sung.
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For Alex Ross, Wagnerism is as profound and far-reaching an aesthetic ideology – for good, ill, and all degrees in between – as any.
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Fiddler Daniel Hope’s new all-Schnittke disc with pianist Alexey Botvinov brings with it a level of authority that demands respect.
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New podcast host Elizabeth Howard talks to Neal Goren about contemporary opera: the trends, attracting new audiences, and how opera can be adapted for the internet.
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Just in time for Passover: another fine world-premiere Rossini recording, the 1827 French version of his Moses-in-Egypt opera.
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Violinist Hilary Hahn’s blend of musical curiosity, expressive savvy, and technical excellence doesn’t often appear in one person.
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These two performances showcase a group of instrumentalists whose collective musicianship is electrifying: full of just the right combination of wonder, play, and discovery this much-loved repertoire needs in order to sound fresh and truly come to life.
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Performed 1600 times in Paris, then forgotten, Hérold’s brilliantly witty, Le pré aux clercs shines again in a splendid recording.
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Arts Commentary: In Memoriam, James Levine (1943-2021)
Do any of his accomplishments – including James Levine’s raising the level of an orchestra’s playing to new heights – really excuse sexual predation?I’d argue in the negative.
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