Classical Music
Arnold Rosner’s writing in each act is strongly contrapuntal, metrically unpredictable, and idiomatically scored. The music is marked by constantly shifting colors, a strong sense of rhythm, and a healthy dose of lyricism.
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John Wilson and the Sinfonia of London are one of the new decade’s most exciting partnerships; Javier Perianes’ album with the Orchestre de Paris is quite clever; Is Liszt’s music trash? The debate continues.
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Ádám Fischer’s reading of Mahler’s Eighth Symphony is breathtakingly clean.
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Another operatic version of Oscar Wilde’s one-act love triangle that ends with the woman’s husband murdering her lover, to her enraptured delight.
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Salome is not the only strong opera based on an Oscar Wilde play. This one-acter by Zemlinsky deserves a place in the repertoire today.
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A world-premiere recording of Siroe, King of Persia makes it clear that Leonardo Vinci (1690-1730) was as fine a craftsman as the painter with a similar name.
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Imagine the excitement of experiencing, for the first time, an opera by one of the greatest composers to have come out of the Spanish-speaking world!
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The rarely staged Oberon is easy to love and will fascinate admirers of early nineteenth-century music.
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The oft-neglected “other” great opera by Carl Maria von Weber, splendidly performed in 1955 and in remarkably clear and vivid sound. I hope this opera’s day will yet come.
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This CD with British pianist Stephen Hough is a gem — and it was named Recording of the Month by Gramophone Magazine.
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Arts Commentary: Rich in Creativity — But Nothing Else