Recent News
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

News archive »

Review: MSO – Beethoven 5, Hamer Hall

11.17.18
Karina Canellakis
Performing ArtsHub

Beethoven’s 5th Symphony needs no introduction. It’s four opening notes seem to have made their way, by osmosis, into the brains of the most unacquainted novices. So how is it that such a familiar piece of music is still capable of eliciting such fervent excitement? With familiar notes comes the opportunity to make the subtleties of interpretation an artform in itself, a task that conductor Karina Canellakis tackled with relish and vigour.

[...]

That prominence of tempo that initially seemed to be the stamp of Kishima alone, acquired a second set of finger prints in hindsight, once the unaccompanied orchestra has dispensed with the first movement of The 5th in record time. A simple, yet riveting choice by Canellakis of an allegro hinted at more than casual hand in Kishima’s approach. This left Canellakis with the time and slightly wrongfooted audience needed, to attack the post-duh-duh-duh-dum movements with renewed energy and vitality. One can’t but be impressed with her ability to put her mark on every aspect of the performance with her driving sense of tempo. This is not to characterise it, as a one-speed freight train. Her remarkable skill lies in her ability to change tack at speed, be it to bring in a crescendo or sudden pause without the change feeling jarring in any way.

An outstanding performance, unafraid to take risks and brilliant from start to finish.
 
Read the full review here