By Mike Greenberg
DALLAS AND HOUSTON – In the same week, the Dallas and Houston orchestras performed Mahler’s Symphony No. 3, both with mezzo-soprano Kelley O’Connor, highlighting differences in the orchestras, their conductors, and halls.
By Lawrence B. Johnson
CHICAGO – It was a large cap, but fitting: Messiaen’s Turangalîla-symphonie that topped off Chicago’s French Reveries & Passions Festival led by Esa-Pekka Salonen. The entire three-week affair was indeed a fête to remember.
By Richard S. Ginell
DIGITAL REVIEW – Leonard Bernstein punched Nielsen into the Philharmonic agenda, but it took Alan Gilbert to do all six symphonies for Dacapo. He completes the cycle with the craggy Fifth, and the Sixth, in which he really lets fly.
By Paul Hyde
CHARLESTON, S.C. – The world premiere of an opera by Chinese-born American composer Huang Ruo shares billing with Francesco Cavalli’s Veremonda, which hasn’t been heard in 350 years, at the 39th Spoleto Festival USA.
By Jason Victor Serinus
MUNICH – In a revival of Herbert Wernicke’s 1997 production, Iréne Theorin, at the top of her game as Elektra, stared straight ahead into space, axe in hand, less mad than fixated on revenge for her father Agamemnon’s murder.
By Colin Eatock
TORONTO – The admired Canadian baroque orchestra has come around to thinking that modernity isn’t all bad. J.S. Bach: The Circle of Creation is its third multimedia blend of a well-honed HIP ethos with cutting-edge technology.