April 15, 2008 |
He seemed, at first, like one kind of cellist, and then another. Until the end of his Sunday afternoon recital at Independence Seaport Museum, when you realized that Jan Vogler was intent on crafting stylistic approaches so different to each composer, you might have been left searching for the musician's core personality. With sturdy and accommodating pianist Louis Lortie as his partner, the cellist with a sweet smile and a straight mop of sandy hair limited his range of colors in Beethoven's Sonata in A major (Op. 69)
July 22, 1988 |
On a night when the sound of thunder was drowned by the rain racketing on the metal-sheathed roof of the Mann Music Center, the Philadelphia Orchestra played Mozart. It was the first appearance with the orchestra of Canadian pianist Louis Lortie, and, somehow, a lull in the storm coincided with his performance of Mozart's Concerto in A (K. 414). In that lull, it was possible to hear in his playing a cultivated awareness of sound as an element in the shape of phrases, an easy dialogue with the orchestral instruments and a confident approach to the flow of the music.
February 12, 1993 |
Good sounds are expected at the Academy of Music this afternoon, when Charles Dutoit leads the Philadelphia Orchestra in Bartok's splendid Concerto for Orchestra and pianist Louis Lortie plays the Ravel Concerto in G. But there also are excellent opportunities to hear stimulating orchestral pieces outside the city. Over in Reading, conductor Sidney Rothstein has earned a good reputation leading the 80-year-strong Reading Symphony. Rothstein hasn't been with the orchestra nearly that many years, but over the last decade he has sharpened the ensemble's skills and not been shy about playing contemporary music.
January 10, 2014 |
You could spend a lifetime delving into all of Franz Liszt's roles as Western music's great change agent. Or you might simply have listened in Tuesday, as pianist Louis Lortie laid them bare before a Philadelphia Chamber Music Society audience. At the American Philosophical Society, with oils of Washington, Jefferson, and Franklin gazing down from the stage, Liszt rivaled the radical old patriots for conjuring a new world. In our time, Wagner may be the most frequently referenced starting point of modern music; opera as a medium has an obvious edge.
February 13, 1993 |
Rachmaninoff's The Isle of the Dead, the symphonic poem he penned after seeing a reproduction of the Arnold Bocklin painting, is not something you look forward to after a tough day at the office. Nevertheless, Charles Dutoit is using the lumbering giant, in its complete and longer version, no less, to open this weekend's concerts with the Philadelphia Orchestra - just one good idea on an excellently conceived program. By the time the musicians had unfolded its lugubrious lines at the opening on Thursday, everyone had stopped the lapses into daydream that plague all but the most extraordinary concert experiences.
January 26, 1988 |
Vladimir Feltsman, a Soviet emigre pianist, and Gil Shaham, a 17-year-old American-born Israeli violinist, will make their Philadelphia debuts during the Mann Music Center's 59th season, which opens June 21. Soviet cellist Karine Georgian and Canadian pianist Louis Lortie also will make their local debuts in the Philadelphia Orchestra's summer season in Fairmount Park. Soviet conductor Yuri Temirkanov, 49-year-old music director of the Kirov Opera in Leningrad, will lead the orchestra at the summer concerts for the first time, opening the season and conducting the first week's three programs.
January 26, 1988 |
Old friends and important debuts will dot this summer's Mann Music Center schedule, continuing the Mann tradition of world-class performers. The free Tuesday-Thursday-Friday concerts, to be held this year from June 21 to Aug. 5, represent 18 opportunities (plus one children's concert) to sample the Philadelphia Orchestra. Free tickets will be available through coupons to be published in the Daily News. (The Mann management also announced that schedules will be altered in the 1989 season to discontinue Friday concerts.
January 18, 2001 |
Few things galvanize the public's attention like a feat, especially one made to look as easy as Louis Lortie's recital Tuesday of each and every Chopin etude. Their technical demands are so intensive and relentless that few pianists have done all the etudes in a single recital. But Lortie, a Canadian pianist, augmented the usual 24 that make up the Op. 10 and Op. 25 sets with the stray Trois Nouvelles Etudes. The only other program I've heard with both Op. 10 and 25 was a 1970s outing by the late Youri Egorov, who (unlike the suave Lortie)
February 24, 1992 |
The Philadelphia Orchestra will premiere three commissioned works next season as it plays its interim year without a music director. Wolfgang Sawallisch, music director-designate, and Riccardo Muti, conductor laureate, will each conduct four weeks of the subscription series in spring 1993, and Sawallisch will lead the orchestra on a three-week Asian tour in May and early June. Sawallisch also will conduct the opening gala Sept. 15, 1992, when pianist Emanuel Ax will be soloist in the Beethoven Concerto No. 5 and a "Come and Meet the Music" concert, March 15, 1993.
July 26, 1993 |
This is the final concertgoer's guide to the summer Philadelphia Orchestra concerts at the Mann Music Center. Mann artistic director Charles Dutoit will lead the Philadelphians in tonight's French program and Thursday's final series concert; newcomer Ion Marin makes his Orchestra debut on Wednesday. TONIGHT Due to a broken blood vessel in her throat, mezzo-soprano Frederica von Stade has cancelled, and the solo spot will be filled by pianist Louis Lortie. MUSIC TO BE PLAYED: Overture to "Zampa," Louis Herold (1831)