Music
But this wasn’t just a night for the hits. It was an occasion for raw, in-the-trenches rock (none of Aerosmith’s later commercial dreck) and rarely, if ever, played songs.
The band tucked two songs from its new album into a career-spanning 95-minute show tilted toward six tunes from the Black Keys’ 2010 commercial breakthrough “Brothers.”
Joachim Raff, widely hailed for his instrumental works, is finally being recognized as a significant opera composer as well.
The Mercury Orchestra explored nostalgia, via performances of rare Finzi and familiar Respighi compositions.
“What we didn’t want was just another jazz festival. I hope it never turns into that. We were focused on early jazz, traditional jazz from New Orleans, dating back to the 1920s and 30s, before the advent of the big band era.”
Newport Jazz sold out all three days in advance for the second year in a row, which made scheduling the primary acts across three stages prone to occasional mismatches between space and demand. But it’s still a golden ticket.
Despite the passing years, personal loss, and shifting musical roles, Wednesday’s 80-minute set proved that everything’s indeed ok with TV on the Radio.
By Ralph P. Locke Joachim Raff’s energetic and characterful Die Eifersüchtigen hits its mark, in its first production ever. Joachim Raff: Die Eifersüchtigen (The Jealous Ones) Serafina Giannoni (Donna Rosa), Raìsa Ierone (Donna Bianca), Mirjam Fässler (Ninetta), Benjamin Popson (Don Claudio), Batthias Bein (Beppino), Balduin Schneeberger (Don Giulio), Martin Roth (Don Geronimo). Orchestra of Europe,…
John Williams’s concert music may be intended to enrich and edify, but there’s always room for a little fandom, particularly on occasions like this. At 93, and after a lifetime of firsts, the composer deserves every accolade.
Jazz Artist Appreciation: Sheila Jordan (1928-2025)
Each time I heard Sheila Jordan sing live, I remember being spellbound, embraced, dazzled, awestruck, and I know I’m not alone.
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