Richard S. Ginell

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Richard S. Ginell writes about music for the Los Angeles Times and is the West Coast regional editor for Classical Voice North America. He also contributes regularly to San Francisco Classical Voice and Musical AmericaIn another life, he was chief music critic of the Los Angeles Daily News. He plays acoustic and electric keyboards and has recently taken up the drums as well.

Five Boys Wrongly Convicted, One Donald Just Wrong

By Richard S. Ginell
SAN PEDRO, Calif. – Anthony Davis extends his string of politically charged historical operas with The Central Park Five, an incendiary piece given its world premiere by Long Beach Opera. (One big role is a certain real estate mogul.)

Last Seen In ’92, Monk Opera ‘Atlas’ Is Back In Big Way

By Richard S. Ginell
LOS ANGELES – Even for a space that has hosted more than its share of outsized spectacles lately, the 36-foot-diameter globe that greeted LA Phil concertgoers upon entering Walt Disney Concert Hall was one for the books.

BSO Shostakovich Cycle Continues: Nelsons Adds 6 & 7

By Richard S. Ginell
DIGITAL REVIEW – The Boston Symphony did not have much of a Shostakovich tradition historically on disc. But both the BSO and DG are catching up in a hurry as Andris Nelsons’ explores middle works in the canon.

LA Phil Shebang Goes Wall To Wall, Noon To Midnight

By Richard S. Ginell
LOS ANGELES – Its centennial season finale was a study in near-megalomania that only this orchestra could carry off – Mahler’s "Symphony of a Thousand" plus a nonstop new-music blowout that lasted twelve extravagant hours.

Salonen Explores Stravinsky Works Of Faith And Myth

By Richard S. Ginell
LOS ANGELES – In the concluding concerts of his Stravinsky celebration with the Los Angeles Philharmonic, Esa-Pekka Salonen conducted religious pieces and scores based on Greek mythology, such as the ballet Orpheus.

Salonen Proclaims ‘Stravinsky Time’ In Musical Toasts

By Richard S. Ginell
LOS ANGELES – For two spring weekends, conductor Esa-Pekka Salonen and the Los Angeles Philharmonic are playing nothing but the music of Stravinsky, one of the city's most distinguished and productive musical citizens.

Elegant New Home Frames California Festival In Promise

By Richard S. Ginell
LA JOLLA, Calif. – Being evicted was the kick in the pants that helped La Jolla Music Society's summer festiival get the music hall it deserves. The new Conrad Prebys Performing Arts Center bowed to applause all around.

CD Memorializes Stucky In Works By 32 Composers

By Richard S. Ginell
DIGITAL REVIEW – Pianist Gloria Cheng, who initiated the collection as a memorial project, performs pieces dedicated to the composer, ranging from the intensity of a work by Esa-Pekka Salonen to a little waltz by John Harbison.

Mapplethorpe: His Passion For Beauty Reflected In Music

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.

He’s Family Now: Edo De Waart Joins San Diego’s Team

By Richard S. Ginell
SAN DIEGO – In his first concert as this ambitious orchestra's principal guest conductor-designate, a globe-traveling maestro brings decades of insight to a troupe soon to be led by 39-year-old Venezuelan Rafael Payare.

Gilfry Shows How It Must Feel To Not Be Glenn Gould

By Richard S. Ginell
LOS ANGELES – In the West Coast premiere of David Lang’s monodrama the loser, directed by the composer in a former movie palace, the Gould legend was eclipsed by Rod Gilfry’s performance, a personal tour de force.

LA Phil Celebrates Black Composers In Harlem Revival

By Richard S. Ginell
LOS ANGELES – The orchestra conducted by Thomas Wilkins devoted an entire weekend at Walt Disney Concert Hall to a pair of “Harlem Renaissance” programs anchored by works of African-American trail-blazer William Grant Still.

Tan Dun ‘Passion’ Bridges Boundaries Of Style And Faith

By Richard S. Ginell
LOS ANGELES – Tan Dun, who had already composed a Water Passion, has come up with a terrific new twist on the idea. His Buddha Passion, in its U.S. premiere, showed universal appeal and emotional wallop sufficient to sweep the world.

A Bouquet Of New Discs From Utah And Pacific Coast

By Richard S. Ginell
DIGITAL REVIEW – Five symphony orchestras in the West released new CDs within weeks of each other. Four of them stuck with Tchaikovsky, Berlioz and Saint-Saens, while the Oregon Symphony boldly explored new American music.

Salonen Steps In, Giving Unexpected Glimpse Of Future

By Richard S. Ginell
SAN FRANCISCO – Esa-Pekka Salonen doesn’t formally take the SF Symphony’s reins until 2020, but he gave a sneak peek at his leadership with a program that included new music, a virtuosic showpiece, and a nod to his Finnish roots.

Philip Glass’ New Bowie Symphony Mismatches Styles

By Richard S. Ginell
LOS ANGELES – The long-awaited Symphony No. 12 (Lodger), his third in a trilogy based on albums by the late rock star David Bowie, shows little of the tremendous progress Glass has made as a symphonist in recent years.

Bernstein Videos: Eloquent ‘Tristan,’ Rollicking Haydn

By Richard S. Ginell
DIGITAL REVIEW – Leonard Bernstein's only full-length Wagner opera recording features a starry cast led by Peter Hofmann and Hildegard Behrens, while the Vienna Philharmonic delivers crackling Haydn 88, 92 and 94.

MTT, Back In LA, Offers Riposte To ‘Exceptionalism’

By Richard S. Ginell
LOS ANGELES – Native son Michael Tilson Thomas returned to his roots to lead the LA Philharmonic in his Four Preludes on Playthings of the Wind, an ironic spin on American exceptionalism based on poetry of Sandburg.

Sexual Assault, Refracted Through An Operatic Prism

By Richard S. Ginell
LOS ANGELES – An intense new opera by composer Ellen Reid and librettist Roxie Perkins, p r i s m explored the anguish of post-assault trauma in its premiere, but the murky narrative left one wishing for some clear story-telling.

Shakespeare Meets Sibelius, Auden In A Tedious ‘Tempest’

By Richard S. Ginell
LOS ANGELES – The LA Phil audaciously tried to perform Sibelius' The Tempest as first intended, to accompany Shakespeare's play. When it wasn't drowned out by delivery of the amplified words, the score sounded wonderful. 

A Message From Our President

John Fleming
MCANA President

Welcome to Classical Voice North America, the online news journal of the Music Critics Association of North America. CVNA was launched in 2013 to provide an outlet for classical music coverage at a time when the market for traditional print journalism was shrinking. With readers in 154 countries, our site has shown steady growth, exceeding 1.1 million page views and 2,000 reviews, essays, and lookaheads. Read about our fourth annual MCANA Award for Best New Opera, which has become one of the organization’s signature initiatives. Learn more about our Music Critics Assocation here. Are you a music critic? Join us.

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