Classical Music
Akademie für Alte Musik Berlin’s pairing of Beethoven with Knecht is intelligent, programmatically and musically, but Thierry Fischer’s Symphony fantastique is a disappointing misfire.
The practice of re-using large chunks of an opera for a new plot and new words may sound implausible to us, but in Rossini’s hands the result is delightful and surprisingly coherent.
Lovers of American music, don’t miss Aspects of America: The Pulitzer Edition ; Lindberg’s recording of Leonard Bernstein’s first two symphonies lacks a compelling command of the musician’s singular voice; the ORF Vienna Radio Symphony Orchestra tackles four pieces by Morton Gould.
Desperate times, desperate measures.
This writer heartily recommends a trip up north to hear a fascinating range of concerts featuring artists, ensembles, and repertoires of remarkable diversity.
Music lovers should seize this rare opportunity to see Beethoven’s first (1805) version of Fidelio, complete with a reconstruction of Florestan’s original aria.
The relative infrequency of big Berio releases makes new recordings of his major works into significant, contemporary music events; Dennis Russell Davies’ new recording of Bernstein’s Mass is done in by lax vocals and a paucity of emotional consistency; Riccardo Muti and the Chicago Symphony Orchestra supply a great Shostakovich Thirteenth Symphony.
It was as if the pianists were performing in a small drawing room for a few friends, not at Jordan Hall.
A pianist of real character and refinement – plus a huge career in Europe – Lucas Debargue was on hand to lend his musicianship to a relatively rare outing of Franz Liszt’s Piano Concerto no. 2.
Storytelling is big business in concert halls these days, and as a yarn spinner Sarah Walker is in a class her own.
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