- 12.12.18
Keith Lockhart - KEITH LOCKHART JOINS THE ROSTER
- 12.10.18
Vienna Boys Choir - Classical Album of the Week: Vienna Boys Choir Sings Strauss
WRTI - 12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn - 2019 Grammy Nominees
Grammy Awards - 12.07.18
New York Philharmonic String Quartet , Yefim Bronfman - Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier - 12.06.18
Aaron Diehl - Pianist Diehl in jazz trio plays varied concert in Palm Beach
Palm Beach Daily News - 12.06.18
Julian Wachner - This Is the Best ‘Messiah’ in New York
The New York Times - 12.04.18
Sir Andrew Davis - ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone - 12.03.18
Chanticleer - Chanticleer Christmas concert, 11/30/18
Divamensch - 12.01.18
Ward Stare - Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune - 11.27.18
Richard Kaufman - PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World
ARTIST NEWS
Classical reviews: BBC Symphony Orchestra, Oliver Knussen, BBC Proms, Royal Albert Hall, London; Calidore String Quartet, Cadogan Hall, London
07.22.18
Calidore String Quartet
The Times
The BBC Proms — the 124th Henry Wood season — opened at the Royal Albert Hall with an all-British programme by the BBC Symphony Orchestra under Sakari Oramo, culminating in the audiovisual spectacle of Anna Meredith’s specially commissioned Five Telegrams. Or rather it pre-opened with the late-Thursday-evening world premiere of that work in a realisation outside the hall, an event I missed.
Here the highly elaborate lighting plot — the work is a collaboration with 59 Productions — was trained on the exterior of the celebrated building. For the Friday concert, it enveloped the amphitheatre, and the organ in particular, and with a lambent magnificence certainly needing to be seen to be believed. How such colours, ever-changing, could at one point align so precisely with the construction of that immense instrument astonished me. At other times the organ ran with flame. And the thought that it was all done with computers took no jot of the magic away.