Music
The recording was made in December 2010 in San Francisco’s Davies Symphony Hall, and reveals an orchestra fully at home in John Adams’ distinctive idiom.
Perhaps most remarkably, BSO conductor Stéphane Denève managed to create an atmosphere in which the Symphony Hall audience, which at this time of year sometimes sounds like it’s made up of inpatients from a tuberculosis ward, was utterly captivated: even the quietest moments were accompanied by a welcomed, attentive silence.
From James P. Johnson to Thelonious Monk to Jason Moran, inspired mentors carry the past into the future.
To judge from the all-around energetic playing of the BSO, it seems conductor Jaap van Zweden has struck a good rapport with the players and I, for one, look forward to hearing more from him in coming seasons.
Art with a capital A has been put on such a pedestal that Craft with a capital C has been downgraded to a shabby or rustic sort of activity of which the practitioner should be a little ashamed. ’Tain’t so.
Dominique Eade’s two greatest gifts are her clarity of musical thought and her courage as an improviser. She does not try to be a cabaret-style interpreter or a ring-a-ding-ding swinger.
Worth checking out in February: a few solid experimental shows.
Ms. Bolden’s goal of evoking wintry climes was achieved because of her choice of pieces and musicians, who performed these compositions so well.
Dutch cellist Pieter Wispelwey first performed, as the soloist with the Australian Chamber Orchestra. in the Celebrity Series line-up back in 2007. He made his second appearance at NEC’s Jordan Hall two nights ago. It was a spectacular performance.
Aside from the intrinsic entertainment value of these operas, they show Ravel in quite a different light than we are used to from his chamber and other orchestral music.
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