When the thunderous introduction to Grieg’s piano concerto erupted in Carnegie Hall on a spring evening in 1951, the audience was poised for a great musical experience.
You might think that watching a Baroque opera with its endless da capo arias would be akin to watching paint dry, but Seattle Opera’s all-new production of Handel’s “Semele” tosses that notion out the window.
Frances Wilson: Who or what inspired you to take up the piano and make it your career?
The world premiere of Snowstorm, a 20-minute feast of orchestral colors and cl
On Friday night (February 6) at Keller Auditorium, Sandra Piques Eddy gave one of the best performances of Carmen that anyone can possibly imagine. She captivated Portland Opera’s audience with a tantalizing combination of emotions that made Carmen absolutely bewitching.
I left jazz behind many years ago when I got hooked on Handel. The harmonies, the bounce and the melodies of the old German seemed to hold much more promise. I remember boasting to a friend, “I even have The Messiah in English.” I had a lot to learn.
As composer Morton Feldman enjoys a comeback in contemporary music circles today, a Swiss arts and design academy has published a new tribute to him along with a CD featuring an ethereal interpretation of Palais de Mari, Feldman’s last solo piano work.
French pianist Hélène Grimaud returned to Bordeaux Friday night (Jan.
One would think that a reliable warhorse like “Tosca” might be a dull affair because it is performed so often, but the most recent Seattle Opera production shows that Puccini’s masterpiece still can grip audiences in the gut.
Maybe so, says Leif Ove Andsnes, the highly acclaimed Norwegian pianist touring th
The one thing the blogosphere does not need is another article about trendy, hip, ironic, facially-haired Brooklyn. In fact some recent articles now toll the death knell of the borough, saying that Brooklyn is passé; it seems that Queens is the new Brooklyn.
A powerful new recording of Rachmaninov’s familiar Sonata for Cello and Piano in G Minor Op. 19 (Light and Shadow, Becsta Records) manages to take this rich Russian music to new heights. It ranks comfortably alongside several impressive readings by other major cellists.
Marc-André Hamelin, Canadian-born and now residing in the Boston suburbs, has just completed a highly successful two-concert series in Bordeaux, playing the Beethoven piano concerto No. 4 including his own cadenza.
Canadian-born pianist Marc-André Hamelin kept a Bordeaux audience riveted Wednesday evening (Dec. 10) by his super-sensitive rendering of a familiar warhorse, the Beethoven piano concerto No. 4. Familiar, yes, but Bordeaux had never heard it performed quite so perfectly.
Canadian-born virtuoso pianist Marc-André Hamelin, looking relaxed and happy about his debut in Bordeaux this week, took time out between rehearsals at the city’s new concert hall, l’Auditorium, to talk about his past and what is coming next.
As any honest critic will tell you (if you can find one), writing about contemporary piano is a long and thorny process requiring multiple hearings or multiple arguments with the composer.