Tag Archives: Lincoln Center

The venerable original-instruments orchestra presented familiar and seldom-heard works, including Brahms's 'Alto Rhapsody' and music by Schubert and Ferdinand Ries.

Jordan Bak, a marvelous young violist, helped remind us that 20th-century American composers kept audiences in mind even as they created original, boundary-breaking concert music.

There has been such enthusiasm for the production since Yale (2015) that the ensemble, the musicians, the stage manager, and the assistants have remained together. As Vogel says, “We’ve all moved together as one.”

Over its 50 years, the Mostly Mozart Festival has built a large following, enjoyed an international reputation and presented A-list performers, all while tending to the shifting expectations of trendy New Yorkers. Under festival director Jane Moss and music director Louis Langrée, it genially circumvents the self-imposed restriction of its catchy name.

With rich harmonics, thrilling tension, and remarkable spatial awareness, the ACO made a thoroughly convincing case for how worthwhile it is to make the effort to present works like Beethoven's Symphony No. 7 with original instruments.

I've heard it said many times and I agree that the period-instrument movement was one of the two or three most refreshing and lifeblood-giving events in a century to keep classical music alive.

The pianist's intellectual approach to the music was loving and respectful as well.

Composer John Adams led the musicians in Beethoven, Stravinsky, and his own "Absolute Jest," a wonderful new work by a composer at the top of his game.

The marvelous Nathan Lane stars in a production that is sheer delight and dark genius.

Alan Gilbert and the Philharmonic showed mastery of rhythm, dynamics, and tone in their first performance together of Stravinsky's Rite of Spring.