Three new works, a hot young Slovenian violinist, plus Mozart's Symphony No. 35 could have, would have, and should have added up to an impressive season finale for the Chamber Orchestra of Philadelphia on Sunday at the Kimmel Center. But they didn't quite.
Three new works, a hot young Slovenian violinist, plus Mozart's Symphony No. 35 could have, would have, and should have added up to an impressive season finale for the Chamber Orchestra of Philadelphia Sunday at the Kimmel Center. But they didn't quite.
WILMINGTON - Nearly every time you look down at the sidewalk, there's a stenciled image of a mustachioed face and the word "Essere."
It was war and it was ruthless. . . . Handel and his Frenemies is Tempesta di Mare's closing concert of the season at 8 p.m. Saturday at the Kimmel Center's Perelman Theater. It features Handel's own Il Pastor Fido suite and Concerto Grosso Op. 6 No. 3, b
NEW YORK - Speculation over Yannick Nézet-Séguin's appointment to the Metropolitan Opera continues to rage - but you wouldn't suspect that amid the nonchalant Carnegie Hall crowd at the Philadelphia Orchestra's final concert of its season here.
So much elegiac beauty can become relentless.
Imogen Cooper is clearly one of the deeper and more original pianistic voices of her generation. But the imaginatively programmed recital of Schumann, Liszt, and Wagner Tuesday at the Kimmel Center had so much richness - and so little cumulative energy -
PRINCETON - Tracy Letts' acclaimed, popular August: Osage County seems to have issued a challenge to American playwrights to create family dramas in which virtually every character is unsavory, yet somehow charmingly comic. Whether or not that was on Sharyn Rothstein's mind in her new play All the Days, which opened Friday at the McCarter Theatre, the script and its cast walked those fine lines with intermittent success.
The Philadelphia Orchestra's two-week John Williams festival ideally balanced the two lives of this hugely well-known, oft-awarded composer - and left you feeling that you knew the personality behind the music.
Somehow the words love fest don't cover it.
Wednesday's one-night-only concert of John Williams film music by the Philadelphia Orchestra as part of its two-week Williams celebration was bound to be good box office, with an audience exuding good will accumulated from the many popular Stephen Spielberg films that he has scored. But what unfolded at the Kimmel Center was beyond what could have been anticipated.
The Mendelssohn Club of Philadelphia assembled a whale of a mostly British music program on Sunday. It would have been great - had the performances consistently honored the music on levels that it required. As it was, the best news that came out of this season-ending concert at Lutheran Church of the Holy Communion is that two of Philadelphia's world-class composers wrote new pieces. Both were in top form, showing hugely different approaches toward the same text.
'Tonight, we commune with the dead," declared the intermission lecturer, Philip Jones, a Babylonian specialist. Is that so different from many classical music concerts?
If John Williams is an alien presence on traditional symphonic programs, his concertos and overtures are like the friendly UFOs visiting Earth in Close Encounters of the Third Kind: They may not entirely fit in, but that's what makes their presence interesting.
Face(book)ing the Music. The San Francisco Symphony says it will become the first major symphony orchestra to stream on Facebook Live on Wednesday, when it performs the world premiere of Mason Bates' Auditorium. Pablo Heras-Casado conducts, with Bates per
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David Patrick Stearns is a classical music critic and columnist for the Philadelphia Inquirer.