Latest

Now, the Metropolitan Opera is in its best shape after James Levine, with excellent principals, outstanding ensembles and solos even in the tutti, rich and precise tuttis, strong connections to top artists, and curious audiences (new and old) in the house. The conditions are about time. The lineup for the

Opera penetrates the darkness of your soul and consumes you; then the orchestra takes it away. Six performances of Strauss's Die Frau ohne Schatten have just finished at the Metropolitan Opera. It's a 4-hour opera, including breaks. Concerts and operas appeal in completely different ways.

Asmik Grigorian and Lukas Geniušas came to Carnegie Hall. The venue is an underground 600-seat space that shakes from subway vibrations. The program is Tchaikovsky and Rachmaninoff. The first and second halves are worlds apart. Both are dark and sad songs, but it's December, winter in New

Ton Koopman came to the New York Philharmonic to conduct Handel's Messiah. His wife was also in the audience. Koopman apparently doesn't perform works after Mozart. This was my first live performance, and his conducting was as sharp as Brüggen's. His timing was quick,

12.3.2024 Akademie für Alte Musik Berlin at 92nd Steet Y Xenia Löffler, baroque oboe; Georg Kallweit, concertmaster and solo violin J.B. Bach, Orchestral Suite No.1 in G Minor for solo violin, strings and continuo Telemann, Quintet for two violins, two violas and continuo in E Minor,

For them, Dvořák and Janáček are as natural as Italians eating pasta—timeless recipes preserved across generations without change. In the Mahler performance the day before, one could sense the musicians’ thoughts, breathing, and individual interpretations. But in this program, the music flowed through them as if it were their