The New York Times – Music:
Alisa Weilerstein brought her new project, a mix tape of new works and movements from Bach’s cello suites, to Zankel Hall.
Author: Oussama Zahr
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Review: Lawrence Brownlee Makes Room for Black Composers
The New York Times – Music:
Often seen onstage as a star of bel canto opera, this tenor crafted a recital of works by Robert Owens, Margaret Bonds and their successors.
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Review: Protecting and Defending Ukraine’s Cultural Identity
The New York Times – Music:
A festival responds to the assaults and insults of war by celebrating the composer who shaped the nation’s contemporary music, Borys Liatoshynsky.
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Review: Protecting and Defending Ukraine’s Cultural Identity
The New York Times – Music:
A festival responds to the assaults and insults of war by celebrating the composer who shaped the nation’s contemporary music, Borys Liatoshynsky.
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Review: Verdi’s Falstaff Is Back at the Met, Enlarging His Kingdom
The New York Times – Music:
Michael Volle puts his noble voice to delightfully undignified use as the title character in Robert Carsen’s still fresh production of “Falstaff.”
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Review: Bach Collegium Japan Returns With Chamber Music
The New York Times – Music:
Players from the ensemble came to New York to perform works by Bach, Telemann and Johann Gottlieb Janitsch at the 92nd Street Y, New York.
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Review: An Orchestra Falters in Schubert’s ‘Great’ Symphony
The New York Times – Music:
Bernard Labadie and the Orchestra of St. Luke’s returned to Carnegie Hall in a program that also included a Mozart piano concerto with Emanuel Ax.
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Review: A Young Pianist Finds His Way to Carnegie Hall
The New York Times – Music:
Mao Fujita’s playing had a prettiness all its own, but he didn’t connect profoundly with all the composers on his largely safe program.
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Review: Poulenc’s Nuns, United by Faith, Return to the Met
The New York Times – Music:
This revival of John Dexter’s production of “Dialogues des Carmélites” features a tightly knit cast led by the full-voiced soprano Ailyn Pérez.