December 9, 2011 |
Intermission chatter at Wednesday's Christian Zacharias recital took on ominous tones when one sage pianophile observed, "He tends to take things to the extreme. " And what makes Zacharias one of the most fascinating elder-statesman keyboard personalities is that you never know which extreme he'll take. Or if you're going to like it. Possessed of effortless technique, decades of accumulated repertoire, huge intellect, and wide-ranging imagination, he has options. The first half of his Philadelphia Chamber Music Society concert at the Kimmel Center brought together C.P.E.
January 20, 2011 |
Pianist Mitsuko Uchida has been a singular object of audience adoration over the last 25 years - for more than the reasons that are immediately apparent. Yes, you had to love the way she exuberantly arrived on the Perelman Theater stage Tuesday, in colorful harem pants suggesting she was a recently escaped genie. Artistically, she's unshakably solid, often taking on repertoire step by step from Mozart to Schubert to Beethoven. Her analytic powers yield extraordinarily communicative performances of Schoenberg and Berg.
October 22, 2011 |
If anybody needed convincing that Lang Lang isn't just a pianist with hot fingers, cool clothes, and lots of self-promotion, positive proof came in both concertos he played with the Philadelphia Orchestra this week at Verizon Hall. Played on Thursday, Liszt's Piano Concerto No. 1 will also be heard by the masses at his Saturday concert and cinemacast with the orchestra, as well as at the Monday repeat screening. Beethoven's Piano Concerto No. 2 was reserved for the live-only audience on Friday at the Kimmel Center and for Tuesday, when he and the orchestra play Carnegie Hall.
January 14, 2012 |
The old belief that conductors don't become truly great until age 60 has wilted with so many emerging young talents whose intense magnetism leaves you unable to immediately say where they stand on the greatness continuum. The latest is Robin Ticciati, the 28-year-old British conductor who has ducked intense media glare with regional positions leading the Scottish Chamber Orchestra and the Glyndebourne Touring Opera - while slowly making high-visibility debuts. The latest - with the Philadelphia Orchestra, which he conducted at the Kimmel Center Thursday night in Beethoven's Violin Concerto , with soloist Arabella Steinbacher, and Sibelius' Symphony No. 2 - was a huge success with the audience.
April 15, 2001 |
A first meeting with pianist Charles Rosen can seem momentous. In books, essays and recordings, he's a huge presence, crystallizing stray musical thoughts with realizations that set lightbulbs flashing over your head. He can make you feel as if you've acquired some sixth musical sense. So, upon seeing him in a chaotic backstage situation where somebody says, "Here! Meet Charles Rosen," it's easy to blurt out "Thanks for changing my life!" Embarrassed, Rosen looked to the floor in that particular instance and didn't say much.
November 13, 2011 |
The knighthood, the vast discography stretching from Monteverdi to Brahms, and the acclaim that has come with it are all tangible evidence that Sir John Eliot Gardiner, 68, is a pervasive presence throughout the European and American classical music world. Why, then, is he only now making his Philadelphia debut on a tour with his period-instrument ensemble, the Orchestre Révolutionnaire et Romantique? Why has he never been asked to guest-conduct the Philadelphia Orchestra? If ever there has been an alternative conducting career, it's his. "Think of conductors of my generation, Zubin Mehta, and musicians such as Pinchy Zukerman and Itzhak Perlman.
March 11, 2011 |
The very idea of a chamber music gala is almost comically incongruous. Tiaras? War medals? At the Philadelphia Chamber Music Society? I don't think so. The PCMS is celebrating its 25th anniversary because it's a refuge from surface gloss, artistic shortcuts, and greatest hits. There's no lite version. The only evidence of gala-ness at the Wednesday anniversary concert at the Kimmel Center's Perelman Theater was a few extra gray suits in the audience for a program that had more collaborative elements than usual, but was fairly representative of what usually happens here.
November 9, 2012 |
THE RAREFIED world of classical music is the setting and the intimate "perfect square" of a string quartet the crucible for "A Late Quartet," a melodrama of love, lust, betrayal and Beethoven. It's a quiet film of tempestuous but predictable situations and emotions, a soap opera made watchable by its illustrious cast. Christopher Walken is Peter, the wizened cellist whose early-onset Parkinson's disease throws the famed Fugue Quartet into turmoil. Twenty-five years and 3,000 recitals into their history, things are changing, because "playing for much longer is not in the cards for me. " The maneuvering starts in an instant.
January 27, 2011 |
A fleet, stealthy entrance. Then thunder. An unexpected shiver gives way to a warm gust. Salvation? No. Back into the abyss. Beethoven is the author of that emotional schematic - only the first two eventful minutes of his Piano Sonata in F minor (Op. 57), the "Appassionata. " But Jonathan Biss intensified it to a remarkable degree, giving him total ownership of the emotional centerpiece of his Philadelphia Chamber Music Society recital at the Perelman Theater Tuesday night. His concert - the Chamber Music Society's 1,000th since its founding 25 seasons ago - was thrilling, which was comforting in more ways than one. Biss, 30, has a career shifting into gear with commercial recordings, high-prestige appearances, and a recent appointment to the faculty of his alma mater, the Curtis Institute of Music.
June 7, 2013 |
In 1973, when the Philadelphia Orchestra made history in China, Inquirer music critic Daniel Webster was there. Now David Patrick Stearns reports on the 2013 visit, building on this long relationship. BEIJING - The two concertmasters bowed together Thursday, the Philadelphia Orchestra's David Kim ceding the first-desk seat to the China National Symphony's Yunzhi Liu. Though the collaboration at the National Center for the Performing Arts (known as the Egg, a reference to its glass and titanium dome)