Before the COVID lockdown, concert life in New York was such a breathless series of discoveries that you barely had time to digest what you were hearing. Now, one stands back and marvels how horizons have kept expanding in the music before J.S. Bach, with modern premieres of 400-year-old works by names you've barely heard of — and leave you wanting more. This … [Read more...] about Parallel musical universes? More lost continents? The early-music movement in New York explores an endless past.
‘Dover Beach’ on video: When scope is achieved with many shades of gray
Whenever someone of visibility in the music industry proclaims that the pandemic lock-down world now needs this (whatever that is), the chances are good that it’s here already. The crucial ongoing question of how to maintain the depth and scope of the opera/symphonic world without the usual trappings (like a grand opera house) is being addressed, both comically (in the … [Read more...] about ‘Dover Beach’ on video: When scope is achieved with many shades of gray
‘The Wake World’ comes from somewhere, but where?
David Hertzberg's opera The Wake World arrives on a new recording with a lot of praise already behind it. Though written in a matter of months by a composer who was then hardly known, the piece was a curious success at Opera Philadelphia's O17 festival and won the 2018 Best New Opera Award from the Music Critics Association of North America. But time and again while listening … [Read more...] about ‘The Wake World’ comes from somewhere, but where?
The Met’s ‘Porgy and Bess’ in the cold light of morning
How often can you say that the Metropolitan Opera rocks? That happens in much of the new recording of Porgy and Bess taken from live performances of the Met's hit production. But the price of capturing that live energy was surprisingly high. The Warner-label issue is an excellent souvenir of the production starring Eric Owens and Angel Blue under the baton of David … [Read more...] about The Met’s ‘Porgy and Bess’ in the cold light of morning
Is there room in the world for this clarinet trio? There’d better be.
During one of the idyllically discussed Philadelphia Orchestra golden ages, music director Eugene Ormandy (ca. 1960) was sometimes compelled to change programs if key principal players were not able to perform. That past is a foreign country: we're now in an age when the proficiency and artistry among classical musicians is at a level where the second- and maybe … [Read more...] about Is there room in the world for this clarinet trio? There’d better be.