Daniil Trifonov
This collection of ten items by the Soviet-era great manages to be more than a parade of mere curiosities.
Pianist Daniil Trifonov’s no stranger to playing Rachmaninoff with Nelsons and the BSO—they delivered a memorable outing of this very piano concerto in 2019—and, while Saturday’s traversal was periodically rusty, it built in spirit and tightness as the evening proceeded.
The keyboard wizard’s latest album both continues a trend of expansive projects that take the long view and celebrates the decade-plus the virtuoso has resided in the United States. It is a blast.
Daniil Trifonov’s long-awaited return to Symphony Hall showed that he continues to embody the fullness of the great Russian pianistic legacy.
Daniil Trifonov’s Silver Age pays bracing tribute to fin-de-siecle and post-Revolutionary Russian music; Jonathan Leshnoff’s Third Symphony is smartly-written and affecting. What happens when tenors Lawrence Brownlee and Michael Spyres team up for an album of duets and ensembles from various Rossini operas? Fireworks.
The final two concerts of the BSO’s season were in the orchestra’s sweet spot.
Pianist Daniil Trifonov’s Rachmaninov album is magnificent; the Münchner Rundfunkorchester do right by Franz von Suppé’s overtures, and the Romantic Piano Concerto series continues to unearth gems.
Their combined sound, made by two nested pianos, their lids off, aided and abetted by Jordan Hall’s superb acoustics, was irresistible.
A hell-for-leather approach to Schubert has its drawbacks; for all the sheen of Juan Diego Flórez’s singing, he doesn’t always seem at home in the music.
Hindemith and Britten could hardly have asked for more committed advocates than Steinbacher, Jurowski, and the RSOB.
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