BRAHMS Piano Concerto No. 1. 4 Ballades • Paul Lewis (piano), Daniel Harding, conductor; Swedish Radio Symphony Orchestra • HARMONIA MUNDI HMC902191 (70:09) Call me a fool for love, but I’ve been listening raptly to this CD for days without…
A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart’s Die Entführung aus dem Serail and Così fan tutte. The content of these articles will be clear enough from Professor Locke’s letter and his own commentary.
“If only I had known it could be done like this!” So enthused Brahms the first time he heard Dvořák’s Cello Concerto—then as now probably the greatest work for cello and orchestra ever written. “If only Brahms could hear this performance,” I’m tempted to say! Thomas Dausgaard seems to have a musical green thumb. Touch something and it springs to life with unexpected flips of energy and color—Schubert and Schumann Symphonies with his Swedish Chamber Orchestra only among the most recent successes.
Sweeney Todd, The Demon Barber of Fleet Street is dark, dark musical theatre. A vengeful barber returns to Victorian London, slits the throats of those who have wronged him and with his accomplice turns their bodies into the stuffing of meat pies. Todd’s London is as menacing as he is …
“There’s a hole in the world
Like a great black pit
And it’s filled with people
Who are filled with shit
And the vermin of the world inhabit it …”
No End of Blame: Scenes of Overcoming by Howard Baker by the Potomac Theater Company, Closing August 7
No End of Blame: Scenes of Overcoming by Howard Baker Potomac Theater Company Directed by Richard Romagnoli July 13, 2016 Art and Censorship How important is freedom of expression to an artist? When censorship is imposed, is artistic talent enhanced…
John Pizzarelli displayed his brilliance as a guitar player along with his pleasant, delightfully unremarkable voice and ample personal charm at Jazz Standard, the venue tucked under Danny Meyer’s Blue Smoke. The wonderful evening would have been even more so if Pizzarelli had incorporated slightly fewer anecdotes and stabs at humor as these made him come off as trying a tad too hard–he’s such a fine musician, his talents need no embroidering.
Boston has had a very good music season since the first of the year. Notably, Andris Nelsons has established himself ever more fully as leader of the Boston Symphony Orchestra. After a triumphant concert performance of Strauss’s Elektra in the fall, Nelsons came back with especially strong accounts of three large-scale symphonies: the Shostakovich Eighth in March, and the Bruckner Third and Mahler Ninth in April. All were brilliantly played by the orchestra, which seems to have accommodated itself to Nelsons very well.
There are all sorts of motivations for going to a concert. As a former conductors’ agent, I was curious to learn what Juraj Valčuha would be like in person. (I missed his SFS debut here a few seasons ago.) Valčuha is a forty-year-old Slovakian rapidly climbing the guest-conducting and music directorship career ladder. He is currently in charge of the RAI Orchestra in Torino, but has appeared by now with most of the major European and American ensembles. So what would he sound like?