At a time in which pirates had just graduated from "hotbed issue of the century" to a subject of droll comic relief, librettist Pietro Metastasio had seized upon the convenient device to launch his witty commentary on the subjectivity of innocence and disenchantment: the lighthearted opera (famously set by Haydn), L'isola disabitata or "The Desert Island". In the opera's Tuesday performance at Alice Tully Hall --- staged by period-instrument favorites, the American Classical Orchestra, led by Thomas Crawford on harpsichord --- one hopes that the opera's delightful social commentary, together with its slapstick gags, had fully reached the New York audience.
On Thursday, November 12th, the St. Thomas Choir of Men & Boys, performing with the Orchestra of St. Luke's, gave a stunning performance of Mozart's unfinished, but nonetheless incomparable 'Requiem in D minor', and Haydn's 'Missa in Angustiis' (the Nelson Mass) at St. Thomas church. Also joining the ensemble were four renowned soloists: Soprano Katharine Dain, Mezzo-Soprano Brenda Patterson, Tenor Dann Coakwell and Bass-Baritone Charles Perry Sprawls. The magnificent caverns of Manhattan's 1914 Episcopal church bellowed with the majesty of these perennial works in concerted memory of John Gavin Scott (1956-2015), the parish's resident organist and music director who sadly passed away this past August.
Alas, we are closing in on the final weeks of this summer's Mostly Mozart Festival. Fear not, though, Classicalites. The home stretch of Mostly Mozarts past there at Lincoln Center have always been filled with must-hear performers in don't-miss programming, and this 2015 iteration is hardly going out with a whimper. Case in point: the much-awaited American stage premiere of British composer George Benjamin's love-hate opera, 'Written on Skin.' Starring Barbara Hannigan and Christopher Purves in the viscerally erotic roles they, themselves, originated, outgoing New York Philharmonic music director Alan Gilbert leads the Mahler Chamber Orchestra in what's fast becoming the most revered English-language opera in some two decades.
If you thought you knew Beethoven, we found 5 truths to Ludwig van Beethoven's character that you either may not have known or overlooked into your processions with Vienna's most brilliant composer.
The musical stylings of Haydn, Mozart and Beethoven come under a close lens at Charles Rosen's The Classical Style.
Pianist Hamelin breathes new life into "dead" composers
We all know our Beethovens and our Mozarts and our Bachs. Some of us even know our Tippet and our Borodin and our Massenet. But there are dozens of composers who, though accidents of history or lack of political or media support or for some other reason are largely forgotten today, except among a few enlightened souls. But it's exciting to discover the new, even when it's very old. So why not take a journey of discovery, starting with these five.
The Los Angeles Chamber Orchestra will present the U.S. première of Bruce Adolphe’s 'Do You Dream In Color?' Blind mezzo-soprano Laurie Rubin will sing this work with the LACO on October 19 and 20.