Discover a new way to find and share stories you'll love… Learn about Reading Desk

Blog Profile / The Classical Beat


URL :http://www.washingtonpost.com/blogs/classical-beat
Filed Under:Music / Classical
Posts on Regator:319
Posts / Week:1.7
Archived Since:April 20, 2011

Blog Post Archive

Into the woods of musicals’ sounds: Two critics on what sings on stage and screen

The impending opening of “Into the Woods” prompted music critic Anne Midgette and theater critic Nelson Pressley to compare notes on their very different takes on the last major movie of a Sondheim musical, Tim Burton’s “Sweeney Todd,” and on what makes a movie musical work.Read full article >>

L’affaire Lazic: a pianist and reviewer face off

In 2010, I wrote a review of a recital at the Kennedy Center by the pianist Dejan Lazic. In 2014, he wrote the Washington Post and asked us to take it down. Neither of us expected that our words would have the effect they did. Read full article >>

The verdict(s) on “Klinghoffer:” a review roundup

I am still in the process of reading all of the critical responses that have appeared so far to the “Death of Klinghoffer” at the Metropolitan Opera, and I know more will follow. I am compiling all the links here in part simply as a service to myself, but I’m sure I’m not the only person who is interested in the discussion. Show More Summary

Lindsey, Portillo shine in Washington Concert Opera’s “I Capuleti e i Montecchi”

The Wolf Trap Opera deserves a lot of credit. This is not, to be clear, a review of a Wolf Trap production. The show I saw on Sunday, Bellini’s “I Capuleti e i Montecchi” (a.k.a. “Romeo and Juliet”), was presented by the Washington Concert Opera, and an engrossing, melodious presentation it was. Show More Summary

Eric Owens on singers and opera companies: “We need to help them help us.”

I wanted to write about Eric Owens, the bass-baritone, because he seems to be turning up an awful lot of places as artist-in-residence — Glimmerglass, Wolf Trap, and the Washington National Opera. I didn’t realize, however, just howShow More Summary

The NSO’s ‘Fantasia,’ a critic’s guilty pleasure

Putting together a picnic, and sitting on the lawn with friends, sipping warm white wine out of plastic cups, a couple of which inevitably develop hairline cracks from being sat on or squashed in the car on the way over, while a balloon...Show More Summary

The audience of the future responds to “The Magic Flute.”

My review of the Washington National Opera’s “The Magic Flute,” which opened on Saturday night, will appear on line on Sunday, and in print in Monday’s paper. I was, however, accompanied by a friend who was so eager to report that he took notes during the show, returned home and produced an overnight review on the spot. Show More Summary

Music review: A double delight from Anne-Sophie Mutter and the NSO

Concertos are generally presented as highlights of an orchestral concert — they add another dimension to the experience of hearing a large instrumental ensemble. And though it’s rare to hear two works involving a soloist on the same program, the National Symphony Orchestra has been spoiling its audiences lately. Read full article >>

From rising star to grande dame, Martina Arroyo never forgot who she was

When the soprano Martina Arroyo was interviewed by the New York Times in 1968, she had the interviewer over to her place with some friends and her mother for chateaubriand and lasagne. When I interviewed her for The Washington Post this fall, she invited me to a black-tie dinner with a couple of hundred well-heeled New Yorkers. Show More Summary

At Kennedy Center, Marc-Andre Hamelin doesn’t seem to find anything difficult

There’s much mystique about the prodigious brains of artists. Marc-Andre Hamelin is the kind of pianist who bears such conceptions out. He has a phenomenal memory, huge technical ability and a taste for the less-known corners of theShow More Summary

Two critics face off over “War Requiem” as performed by the BSO with Marin Alsop

Anne Midgette: I’ve had a couple of chances this month to weigh in on Benjamin Britten’s “War Requiem,” a work that I admire in theory, but have never managed to love. Britten would have been 100 on Nov. 22, and the “War Requiem” — premiered...Show More Summary

Anne Midgette review: Wagner’s ‘Parsifal’ is a fine fit for NSO’s classical concert staging

To mark one of classical music’s notable bicentennials, Washington’s fall season has gotten underway with a double dose of Wagner. First, there was “Tristan und Isolde” at the Washington National Opera in September, in which the conducting took precedence over the nice, unobjectionable staging. Show More Summary

On the prowl for memories, museumgoers resort to snapshots

They walk through the museum like hunters, like bird-watchers, on the alert for their next sighting, their next capture. They hold their cellphones, their cameras slightly in front of them, curled against their chests or under their chins, poised for the next shot. Show More Summary

Midgette: Rutter appointment sparks thoughts on classical music at the Kennedy Center

On Tuesday, the Kennedy Center announced the appointment of Deborah Rutter, the president of the Chicago Symphony Orchestra Association, as its next president; she will succeed Michael Kaiser in the fall of 2014. Throughout the classical...Show More Summary

Midgette: December concerts in review: of student-like recitals, opera, and concertmasters in the spotlight

A quick look at the musical highlights of the month thus far, as observed by the classical music critics of the Washington Post. Robert Battey started the month with a brace of concerts. He heard the controlled veteran Anne-Marie McDermott...Show More Summary

Midgette: Gift list: what does a person who “likes classical music” really like?

Tis the season to think of gifts. A couple of weeks ago, a friend asked me to put together a list of new CDs for another friend, a woman in her 30s whom I’ve never met who describes herself as “liking classical music,” and listens to it a lot -- and not to pop music -- on the radio. Read full article >>

Midgette: “War Requiem:” the conversation continues

It’s the month of War Requiem in Washington, where two major organizations feted Benjamin Britten’s centenary with a piece that some have called his magnum opus. I had a couple of chances to talk about the piece in the Washington Post,...Show More Summary

A lost “Lost Childhood.”

In 2005, the opera “Lost Childhood” had a read-through, with singers and piano, through American Opera Projects in New York City. Like many operas these days, it’s based on a true story. It depicts a conversation between a characterShow More Summary

Midgette: Review roundup: Shao, Bailey impress on cello; Kronos plays new Philip Glass quartet; and more

It’s time for another roundup of recent classical music reviews. I attended Yuja Wang’s recital at Strathmore last week and found the playing brilliant but oddly distanced; I later heard third-hand that she may actually have been indisposed,...Show More Summary

Child opera singer goes viral, redux

In the popular imagination, opera arias have become a vehicle for all that is moving and beautiful – as long as they’re not sung in an opera house. People who would go to some lengths to avoid attending a performance of Puccini’s “Turandot”...Show More Summary

Copyright © 2011 Regator, LLC