May 16, 2015 |
The Philadelphia Orchestra's dress-to-kill program on its soon-to-start European tour was previewed Wednesday at Verizon Hall in what was also the close of Yannick Nézet-Séguin's third season as music director. The show illustrated his way of taking smart, middling chances and drawing the best from those around him. The world premiere of Nico Muhly's Mixed Messages showed the composer, in his first wholly new piece for the orchestra, eager to wow the audience with all the resources the orchestra offers.
January 25, 2015 |
Yannick Nézet-Séguin celebrated his 1,500th concert since his 1994 debut with a Philadelphia Orchestra performance that was beyond what audiences have come to expect from him in his three years as music director. "Beyond" didn't always mean "distinguished," but it did in the dominant work on the Thursday concert, Rachmaninoff's Symphony No. 2 : Though not for those who prefer lean, straightforward Rachmaninoff, the performance's fusion of passion, insight, great playing and Philadelphia sound fused into something that easily deserved the rock-star reception from the Kimmel Center audience, in the second week of the St. Petersburg Festival.
November 21, 2014
G UINNESS is one of the greatest, most valuable brand names in beer. From its familiar harp logo to its stenciled typeface to Arthur Guinness' famous signature, everything about it is immediately recognizable. Even its bubbles have a trademark look. You think of Guinness, you think of rich, dark, smooth Irish stout - the biggest-selling, most famous dark beer on the planet. The problem is, that's the only thing you think of. As good as Guinness is, it's really only good for one thing.
November 2, 2014 |
Unless he had monitored his audience's vital signs just before the end of Mahler's Symphony No. 2 , Philadelphia Orchestra conductor Yannick Nézet-Séguin could hardly have predicted the emotional fever that greeted the final ecstatic chords at the Kimmel Center on Thursday. The sense of release at the end of 90 minutes of Mahler's incremental structuring almost guarantees a momentous response, but this performance made its effect on emotional terms as well as on orchestral virtuosity.
May 16, 2014 |
Is it backlash or breakthrough? Maybe both with Yannick Nézet-Séguin's new Schumann symphony set on Deutsche Grammophon that recently hit the market: It's both adored and dismissed, though not for any uniform reasons. Rather than recording the symphonies over time with one of his home orchestras (Rotterdam or Philadelphia), Nézet-Séguin opted for the Chamber Orchestra of Europe (COE) during an intensive series of concerts at Paris' Cité de la Musique, plus a patch session. The reaction in England (where the set has been out longer)
May 4, 2014 |
Youthful embraces and lonely leave-taking occupied each half of the Philadelphia Orchestra's Thursday concert at the Kimmel Center with an unexpectedly particular characteristic in common: Unguarded emotionalism unlike anything else heard from the respective composers, whether in Bartok's Violin Concerto No. 1 or Bruckner's Symphony No. 9 . Smartly devised by music director Yannick Nézet-Séguin, the concert had long-term contour, starting...
April 27, 2014 |
For the opening salvo of four different Mozart programs in three days, conductor Yannick Nézet-Séguin on Thursday night modulated his influence to various degrees. His jumpiness in the Overture to Così fan tutte left you wondering what happened to the gracefully rounded waves of Mozart's main theme. In parts of a symphony, he stepped back and let it flow. Presiding over a piano concerto, he left a personal stamp. By the end of this weekend of overtures, symphonies, and piano concertos - so much for new formats - listeners should have a firm idea of whether this Philadelphia Orchestra music director has any firm ideas about Mozart.
September 13, 2013 |
Though Philadelphia Orchestra music directors have long had a teaching relationship with the Curtis Institute of Music, Yannick Nézet-Séguin has been formally appointed to inaugurate a four-year conducting program that's described more in terms of mentoring than teaching. "I have become the musician and conductor that I am today because of every teacher I have had, and it is with this in mind that I look forward to becoming the first mentor conductor at Curtis," Nézet-Séguin said in a statement released this week.
August 14, 2013 |
MONTREAL - Few operas are as daunting and intoxicating for performers and audiences as Wagner's. So is it any wonder that conductor Yannick Nézet-Séguin compared his first full foray into that world as a coming-of-age moment? "There's not another context in which I'd rather lose my Wagner virginity," he declared before Sunday's concert version of Lohengrin at Festival Lanaudière, held annually in the countryside north of Montreal. Though a standard at the world's large opera houses, Lohengrin is seldom heard elsewhere; this was its Quebec premiere.