Peter Dobrin is a classical music critic for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Orchestra's 64-day strike in 1996, the development of a new performing arts center in Philadelphia, changes in the classical-recording industry and the finances of Philadelphia's arts organizations.
He has also covered the Philadelphia Orchestra's tours in Asia, South America and the United States. Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. His work has also appeared in the Baltimore Sun and the Washington Post.
Read his blog "ArtsWatch" to find out who's making news, noise and splash in the Philadelphia arts world and beyond.
- Strike Over, Noisy Buses Back
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Nights like the one the Curtis Institute of Music had Tuesday - in which everything is going right and everyone in the room seems to feel it - are dear in the life of arts institutions, especially in tough times. The Curtis orchestra, in its first concert of the season, played with a magnificent assuredness. Much of the city's arts and civic leadership was in Verizon Hall, buzzing about the school's new dorm and orchestra rehearsal hall quickly taking shape a few blocks away.
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Inquirer critic and culture writer Peter Dobrin tells you who's making news, noise and splash in the Philadelphia arts world and beyond at www.philly.com/philly/blogs/artswatch
- Pianist Claude Frank opened the chamber music group's season.You don't usually have to worry about falling objects at concerts, but the program booklet that smacked the aisle floor Sunday afternoon was a heavy one. Heavy because this was the Philadelphia Chamber Music Society, whose quarter-inch booklet lists an unprecedented 65 concerts this year - despite the dreadful economy.
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Roger Norrington at the Philadelphia Orchestra is a bit like the substitute teacher who catches you by surprise one day. First, you find that he's moved everything around. And then, when he makes his first sound, he's using phrases you've never heard before. Doesn't he know how things are done around here?
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Inquirer critic and culture writer Peter Dobrin tells you who's making news, noise and splash in the Philadelphia arts world and beyond at www.philly.com/philly/blogs/artswatch
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(Warning: This article contains mild video game jargon which may be unintelligible to some parents.) Pong; Pizzicato. Tetris; Triangle. OutRun; Orchestra.
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Nothing, potentially, is more artificial than a Broadway singer unmoored from her Broadway show. Without context - a story, sets - a soprano bursting into song as she walks onto stage, microphone in hand, risks comedy of the unintentional kind.
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The Philadelphia Orchestra now has a compelling, if regrettable, story line: Finances are a mess, but it plays great. The orchestra advanced that narrative with new details Thursday night, arguing in effect that the beauty of which it is capable outstrips the financial turmoil by several degrees of severity.
- She got her start here in 1981.A year after its last president gave notice, the Philadelphia Orchestra has a new leader. Allison B. Vulgamore, president of the Atlanta Symphony Orchestra since 1993, will take over the Philadelphia ensemble at a time when it has been badly shaken by financial turmoil.
- The "30 Rock" star opened the season, with maestro Dutoit, and underplayed delivery of Copland's piece.If it were your job to find a new friend for classical music - say, someone from the pop-culture side of the fence who could bring in more friends - Alec Baldwin might not be your first pick.
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