Concert and opera reviews from Southern California.
The sound system has been tweaked and improved for classical music. Gone are the crude amplification and ‘spotlighting’ of instruments, particularly the winds and brass.
Read MoreAngela Meade, the Turandot, has a powerful and vigorous soprano. The role (and the sizeable orchestra) seemed to hold no terrors for her. Her tone was firm and unwavering. Her singing was strong and unflagging.
Read MoreFinal concerts of the season include Louis Langrée, Víkingur Ólafsson, Maria João Pires, Gustavo Dudamel, and Yuja Wang.
Read MoreRachel Willis-Sørensen, the Violetta, is a vivid and passionate artist, with a gleaming presence, a voice both flexible and lustrous, and strong musical and dramatic instincts.
Read MoreMTT’s podium manner was precise and lively as his condition allowed, flailing his arms, swaying his upper body and even stumping his feet to the music’s marching rhythm.
Read MoreDelving deeper into the music and libretti, however, the connoisseur discovers both works are neither about the blackness nor the Jewishness of their respective subject matter.
Read MoreDaniil Trifonov, the famed Russian pianist, also made his long-overdue return and the hall was packed on this ‘casual Friday’ evening.
Read MoreAs a team, Mutter and Ferrández worked well together, him taking the lead in introducing the themes, and her matching the cello in warmth and brilliance.
Read MoreFrank Gehry, the hall’s architect, reconfigured the concert stage into an opera house’s orchestra pit. A platform above the pit is the actual stage where the actions take place, as well as the platform ring circling the front...
Read MoreThe greatly expanded orchestra featured four flutes, eight horns, two harps, an assortment of percussion, including a celeste, cowbells and a gigantic purpose-built sledgehammer…
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