|Filed Under:||Music / Classical|
|Posts on Regator:||491|
|Posts / Week:||1.6|
|Archived Since:||April 20, 2011|
Before there was ‘Fidelio,’ there was ‘Leonore,’ and two versions of it are coming to the District.
The prospect of stories in music may not sell tickets - but it can make for a great evening.
The mission of finding a new direction for opera has yielded to the more common aim of desperately hoping to sell tickets.
The Venice Baroque Orchestra showcased its core repertory in a delightful evening.
The talented violinist made beautiful music in four appearances that offered listeners variety but not much vision.
Pianist Igor Levit offers detailed views of many landscapes in long-delayed D.C. recital.
An art form about heightened emotion offers practical tips for making yourself heard.
Joshua Bell and Mike Isabella explore pairings of music and food, courtesy of the Gourmet Symphony, for the benefit of a small and happy audience of diners.
The violinist, conductor, and football fan prepares for a Kennedy Center residency.
Virginia Opera’s “Der Freischütz” could have used a lot more camp.
The week-long event has a flat price of $25 for all shows, which will feature a variety of American music.
Rouse’s Trombone Concerto was the centerpiece of an uneven but amiable concert.
A superstar explores the fecundity of imagery at the intersection of the universal and the intensely personal.
Mason Bates devoted his latest program to slender music “of heightened emotion.”
Absent star wattage, Bartlett Sher’s new Met “Romeo” is bleak indeed, despite conductor Gianandrea Noseda’s best efforts to illuminate it.
NSO, Eschenbach commemorate Mstislav “Slava” Rostropovich with a massive program.
Nézet-Séguin shows authority in familiar “Petrushka,” shines in Lili Boulanger.
Violinist’s performance at the Phillips is a simple act of homage and adoration.
Noseda promises to bring new wind to the NSO; WNO focuses on Italy and big voices.
Concerts and anti-inaugural events attempt to combat artists’ sense of powerlessness