Torn Between Two Loves: The Oboe and the âHot Messâ
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No amount of actorly nuance could paper over the shortcuts and disjunctions of Sarah Treemâs new play.
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By William Weir, The Hartford Courant, Conn.  Dec. 14--If you're a reporter assigned to the violin-technology beat,  these are heady times indeed.
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A two-keyboard piano from the late 1920âs allows a pianist to provide a visual and aural experience for Bachâs âGoldbergâ Variations.
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Robert Bass and the Collegiate Chorale gave Ernest Bloch's âAvodath Hakodeshâ  a thoughtful, richly textured performance at Central Synagogue on Monday evening.
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Leos Janacek has entered the opera mainstream in recent decades, but this Czech composerâs final and darkest opera, âFrom the House of the Dead,â has been largely overlooked, perhaps understandably.
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Do not look for the Viennese soul in the waltzes of Johann Strauss. Try instead the dark places of Anton Webernâs Six Pieces for Orchestra or Alban Bergâs Three Orchestra Pieces, both played by James Levine and his Met Orchestra at Carnegie Hall on Sunday.
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Cristina Pato manages to find sensuous sounds on the Galician bagpipe, an instrument usually associated with martial anthems.
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One of the most unusual musical moments in Handelâs magnificent oratorio âBelshazzarâ comes when the blasphemous King Belshazzar of Babylon is warned of his impending doom by a disembodied handâs writing on the wall in a mysterious script.
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In the age of the short attention span, classical music matters more than ever.
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Autumn Music Festivities. The concert will be combined: a soloist-chamber concert and a part performed with orchestra.
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The jingling piano, the humming traffic and the prancing horse tap out separate if connecting songs in the beguiling nonnarrative film âThe Silence Before Bach.â
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In âBook of Longing,â Philip Glass illuminates Leonard Cohenâs poetry with a chamber score that breathes naturally and gracefully.
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Da ottobre sessantuno appuntamenti con musica e teatro
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The Seattle Symphony Orchestraâs recent history serves as a cautionary tale on how, in an artistic hothouse, a tangle of emotion and politics can veer out of control and take on a life of its own.
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Three new CDÂs attempt to go beyond modern conceptions of piano sound to show, in various ways, what kind of music Mozart might have heard on his own instruments.
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Can one orchestraâs audacious experiment save classical music?
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In a recent column, critic Edward Reichel complained about what he feels is the Utah Symphony's too frequent scheduling of standard classics -- the offending composition here being Tchaikovsky's celebrated Violin Concerto. Mr.