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Tag: Thomas Crawford

'LIVE REVIEW: Haydn's 'L'isola disabitata' Staged by American Classical Orchestra

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.
By Steve Nagel

  • 'LIVE REVIEW: 'St. John Passion' Re-Lived by Rufus Müller, American Classical Orchestra (ACO)

    The fluttering, genteel tenor of Rufus Müller, and his role as St. John the Evangelist, might be enough to ease the spirit of Easter into any autumn day. But to be accurate, it was the entirety of the American Classical Orchestra (ACO), under the helm of Thomas Crawford (cooperating with a host of vocal treasures, including that of Rufus Muller, Teresa Wakim and Paul Max Tipton) that brought out the luster of J.S. Bach's liturgical masterpiece, 'St. John Passion' on November 3rd at Lincoln Center.
    By Steve Nagel

  • 'LIVE REVIEW: Jiayan Sun, Thomas Crawford Lead ACO in All-Beethoven Opening Night

    Alice Tully Hall was rattling under standing ovations this Thursday, courtesy of American Classical Orchestra (ACO's) choice to begin its season with the thunderous clashes of three perennial Beethoven works: the "Lenore Overture No. 3," followed by the 'Emperor' Concerto, and finally, Beethoven's '7th Symphony.' Certainly, an "All-Beethoven" opening night marks a decisive start to any season, but with young fortepianist Jiayan Sun leading the 'Emperor' Concerto with a historically informed performance, enthusiasts may never again be as close to the composer's work, as only he conceived it.
    By Steve Nagel
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