In the Frank Castorf production of “Das Rheingold” that I saw in Bayreuth on Friday (August 21), Wotan and company have their god-like powers, but they are just a bunch of gangster types in a low-life setting.
Some stage directors probably would say that it’s insane to take a full-sized orchestra out of the pit and put it on stage during an opera performance, but that didn’t stop director François Racine from doing it for Seattle Opera’s production of Verdi’s “Nabucco.” Racine also had the company cov
What originally got Philip Glass going as a composer was the realization that he was “living in a world where all the composers were dead. Even the living ones were dead.” He decided to do something about it.
WHEN I TOLD a snarky friend I was writing about the new Philip Glass autobiography, Words Without Music, she asked, “Does it go like this: I, I, I, I, I, I, was, was, was, was, was, born, born, born, born …?” Snarky.
The International Tchaikovsky Competition in St. Petersburg and Moscow ended last night (July 1) in a virtual American sweep in the piano category, with gold and bronze prizes going to American-trained Russian boys and the silver to a Chinese-American player from Boston.
With mixed results, the San Francisco Symphony performed Beethoven’s “Missa Solemnis,” using projected imagery and movement on June 11th  at Davies Symphony Hall.
The Bordeaux Opéra Nationale has been packing its 18th-century Grand Théâtre for a week of sellout performances of Norma, the great Vincenzo Bellini opera on which much of his reputation rests.
"The classical music scene in New York City is amazing. Not only for the quality, but also for the depth and breadth of the offerings. Yes, there are always the A-list attractions, Netrebko at the Met, Argerich at Carnegie.
Speaking recently at the Hay Literary festival, he declared that it w
In his 70s, the pianist and conductor Daniel Barenboim continues to attract attention not only for his performance schedule but also for his views on global issues.
When an aging Radu Lupu sauntered onstage in Bordeaux Tuesday evening (27 May) a hush fell over the packed Auditorium. This pianist is generally recognized as one of the world’s most accomplished keyboard artists, and the full house of 2,200 attendees knew it.
One can easily imagine an opulent home of a Seattle billionaire like Bill Gates or Paul Allen as a setting for Richard Strauss’s “Ariadne auf Naxos.” So after the curtain went up for Seattle Opera’s opening night (May 2) at McCaw Hall, the contemporary setting, created by Robert Dahlstrom, aptly
When legendary soprano Patricia Racette, currently starring at the Met in Pagliacci, called and asked if I would like to produce her new CD, I had to pinch myself. This is the kind of request that can make my day, week and month.
Young Boston area players performed a broad range of instrumental and vocal works by the up-and-coming Boston University (BU) composer Christopher LaRosa (in the picture) Friday night at Boston’s United Church of Brookline, virtually rattling the stained-glass win
Music Director Andris Nelsons’s Thursday [April 9, 2014] BSO program, comprising a wide range of musical styles and eras, induced an enthusiastic reception in the nearly full house. The program will be repeated tonight (Friday), Saturday and next Tuesday.
When scheduling an orchestral program a year or more in advance, it is probably impossible to know how a brand new piece will match up with any other work, but Michael Gandofi’s “Ascending Light,” which received its world premiere last weekend from Boston Symphony, had a lot in common with Gusta