By Paul E. Robinson
DIGITAL REVIEW – Baritone Thomas Hampson, a tireless champion of American music, records songs by composers tied to Chicago: Ernst Bacon, Florence Price, John Alden Carpenter, Margaret Bonds, and Louis Campbell-Tipton.
By John Rockwell
AMSTERDAM – The musical adaptation of Beckett’s play, begun by György Kurtág in 1990 and repeatedly deferred, got an airing at the Dutch National Opera. A more ideal marriage of text and music could hardly be imagined.
By Daniel Gilliam
LOUISVILLE – A two-weekend Festival of American Music showed the Louisville Orchestra’s willingness, under music director Teddy Abrams, to view its work through a different lens and regain its historic importance.
By Keith Powers
BOSTON – Thomas Adès conducted the world premiere of his challenging first Piano Concerto with the Boston Symphony Orchestra and his aggressive interpreter, Kirill Gerstein. It goes next to Carnegie Hall and Leipzig.
By Rick Schultz
LOS ANGELES – John Adams composed Must the Devil Have All the Good Tunes? for Wang, who gave the premiere with the LA Phil under conductor Gustavo Dudamel. From its opening outburst, the score commanded our attention.
By Richard S. Ginell
LOS ANGELES – Like the work of photographer Robert Mapplethorpe, Bryce Dessner’s new Triptych (Eyes of One on Another) for voices and chamber ensemble, is engaged in the beautiful – gorgeous vocal sound for its own sake.
By Nancy Malitz
CHICAGO – Alice Coote, recovered from flu, delivered Ariodante’s soliloquy “Scherza infida,” Handel’s Hamlet-like masterstroke, to soaring effect in Richard Jones’ staging at Lyric Opera of Chicago, bringing the house down.
By Susan Brodie
NEW YORK – Tomomi Adachi’s Why you scratch me, not slap for electric guitar, was fun to watch and hear, a highlight of the Music From Japan festival that examined John Cage’s hold on modern Japanese classical music.