February 15, 2013
A story Thursday on taxidermy artist Beth Beverly misspelled the last name of Jen Cohan, who gave her dead dog to Beverly to be preserved. A story Thursday about the Philadelphia Orchestra incorrectly described the status of the Minnesota Orchestra's musicians. They have been locked out. The Inquirer wants its news report to be fair and correct in every respect, and regrets when it is not. If you have a question or comment about news coverage, contact assistant managing editor David Sullivan (215-854-2357)
April 20, 2001 |
PHILADELPHIA ORCHESTRA Access Concert, David Alan Miller conducting. 7 p.m. Tuesday, Academy of Music, Broad and Locust streets. Tickets: $15. Info: 215-893-1999.? You've never been to hear the Philadelphia Orchestra? I've heard all the reasons why people haven't. They mostly revolve around fear of not being well-versed in music, the stereotyped assumptions of formality and the probable need to get all dressed up. Those fears disappear when they finally visit the Academy of Music, judging from the many first-timers who send exuberant e-mails hungry for suggestions about upcoming concerts.
October 3, 2012 |
How much money is a principal oboist worth? A section violinist? What about the president of a struggling symphony orchestra? Or a third-grade teacher, for that matter? Not long ago, I found myself explaining to my tween son why certain things he covets - a trendy brand of ear phones, in this case - command a high price, and why price tags are often divorced from justice and logic. It has always been true and always will be: Nothing has intrinsic value; something fetches only what someone is willing to pay for it. What someone is willing to pay for orchestral musicians in this country has changed radically in recent weeks.
April 27, 2006 |
Osmo V?nsk? doesn't rehearse the Philadelphia Orchestra as much as he wrestles with sound. The mildly burly 53-year-old conductor is in black jeans and T-shirt, sliding on and off his chair and leaning over the second violins as if performing emergency surgery. He's not a tall man, but he seems to grow by a foot when in front of an orchestra, even though he spends a fair amount of time crouching. Being partially out of sight is his way of drawing a true pianissimo from the Philadelphia Orchestra.
August 9, 2015 |
If the Curtis Institute of Music isn't careful, it may disturb Philadelphia's self-satisfied parochialism even more than it has. Summerfest, Curtis' summer camp, has proved how powerfully the city benefits from importing talent beyond the usual sources while folding it into the school's own. Of course, Curtis can have it both ways. Though some of the faculty performing Thursday night at the last in a new series of three Summerfest recitals were from orchestras elsewhere, most were, in a sense, of here - Curtis graduates.
October 26, 1988 |
European orchestras are being imported at record rates, but the policy has not raised a cry for protectionist legislation. These orchestras bring other accents, glimpses of repertoire and approaches to music that give our indigenous orchestras perspective. The Stuttgart Radio Orchestra, which played at the Grand Opera House in Wilmington Monday night, appeared to be an ensemble awaiting a conductor to release its best abilities. Neville Marriner, founder of the Academy of St. Martin-in-the-fields and former music director of the Minnesota Orchestra, is probably not that conductor.
November 11, 1993 |
An additional insight into Eugene Ormandy's legendary 44-year association with the Philadelphia Orchestra has been added to his legacy. A valuable new oral history section, now available at the Ormandy Memorial Archive at University of Pennsylvania's Van Pelt Library, comprises 86 taped interviews about the maestro. It provides a more personal dimension to his memory. Through these tapes, students and music lovers can learn what audiences and musicians felt during his tenure, filling out a period of which most students would not be aware.
October 4, 2013 |
A stagehand strike has forced the cancellation of Carnegie Hall's Wednesday night black-tie gala season-opener, at which the Philadelphia Orchestra was to have been the featured ensemble. The stagehands, represented by Local One of the International Alliance of Theatrical Stage Employees, were working under a contract that expired Aug. 31, and called a strike at 8 a.m., according to a union statement. "Carnegie Hall sincerely regrets any inconvenience this strike will cause our artists, concertgoers, and everyone with whom we work," said Clive Gillinson, executive and artistic Director of Carnegie Hall.
January 28, 2015 |
Five or six decades have passed since Herbert von Karajan's advocacy for Sibelius established an international sound concept on the composer's coattails. Polished and cool, Karajan's recordings of the Sibelius symphonies might have done more to advance the cause of ensemble perfection than of the composer. They were beautiful and superficial. And they were hardly the last word. Osmo Vänskä seemed to be dismantling Karajan's legacy phrase by phrase Sunday afternoon in a remarkable appearance with the orchestra of the Curtis Institute of Music in Verizon Hall.
March 13, 2010 |
There is nothing vaguely felt in Osmo V?nsk?'s Sibelius Symphony No. 2. He feels strongly about it all. When it's fast, it should be very fast. When it's stern or emphatic, the music scolds. Tenderness slows to the point where it threatens to dissolve. Many listeners will like his way with Sibelius' most popular symphony, which had a long history here before the Finnish conductor brought it to the Philadelphia Orchestra. But to anyone whose ear was set by any of the three Ormandy recordings of the work, V?nsk?'s interpretation may sound more like an act of perfidy than revelation.