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Our motto: "Critical thinking in the cheap seats." Unbiased, honest classical music and opera opinions, occasional obituaries and classical news reporting, since 2007. All written content © 2016 by Paul J. Pelkonen. For more about Superconductor, visit this link. For advertising rates, click this link. Follow us on Facebook.

Friday, April 28, 2017

Metropolitan Opera Preview: Cyrano de Bergerac

"And all you can come up with is 'Big Nose.'"
by Paul J. Pelkonen
This isn't The Nose: Roberto Alagna as Cyrano de Bergerac.
Photo by Ken Howard © 2017 The Metropolitan Opera.
Franco Alfano is remembered today as a footnote. He's the guy saddled with the unenviable task of writing the final pages of Giacomo Puccini's last opera Turandot in 1924. That completion was dismissed in 1924 by Toscanini himself. However, his six operas survive. This is the first Metropolitan Opera revival of Cyrano de Bergerac.

Concert Review: The Price of Reinvention

Soprano Natalie Dessay returns to Carnegie Hall.
by Paul J. Pelkonen
Natalie Dessay. Photo © Sony Classical.
Natalie Dessay is no stranger to adversity. Throughout her career, the French soprano has battled ahead, undergoing surgery to keep her voice in fighting trim and dazzling audiences with a high coloratura that was at home in Donizetti, Mozart and Richard Strauss. Ms. Dessay retired from the operatic stage in 2013, with her last Metropolitan Opera appearances coming in a tumultuous run of Handel's Giulio Cesare in Egitto. Four years went by until her return, which came on Wednesday night upon the hallowed boards of Carnegie Hall.

Wednesday, April 26, 2017

Opera Review: A Volga Display of Power

Juillard Opera mounts Kat'a Kabanova.
by Paul J. Pelkonen
Bad romance: Boris (Gerard Schneider, left) woos the heroine (Felicia Moore) in Juilliard's Kát'a Kabanova.Photo by Hiroyuki Ito for the Juilliard School. 
In retrospect, it is a pity that the Czech composer Leos Janacek did not find fame and fortune as an opera composer until the 1916 premiere of the revised version of Jenůfa, when the composer was 62. Káťa Kabanová, based on a Russian play, was written five years later. On Tuesday night, at the third of three performances at Peter Jay Sharp Theater, the Juilliard Opera showed that this rarely performed tragedy remains one of the composer's most potent creations.

Friday, April 21, 2017

Concert Review: Up the Down Banister

The noisy return of the New York Philharmonic.
by Paul J, Pelkonen
Pianist Jonathan Biss doing what he does.
Photo from Onyx Records.
The New York Philharmonic are back from their 2017 European tour. Thursday night marked the ensemble’s return to its home stage at David Geffen Hall with a program of heavyweight orchestral works by Berlioz and Elgar, flanking a pair of interconnected piano concertos with soloist Jonathan Biss. At the podium: the young Irish conductor Courtney Lewis, making his subscription debut.

His Last, Bigliest Bow

Donald Trump brings back Luciano Pavarotti.
by Paul J. Pelkonen
This didn't really happen....or did it?
Luciano Pavarotti sings with Donald Trump.

An unexpected gaffe by United States President Donald Trump on Thursday afternoon may lead to an unexpected career spotlight for Luciano Pavarotti, the beloved opera tenor who died in 2007.

Today, speaking at the White House in a joint press conference with Italian prime minister Paolo Gentiloni, Mr. Trump said: "Through the ages your country has been a beacon of artistic and scientific achievement. That continues today."

He then referred to Mr. Pavarotti and his friendship--twice: "From Venice to Florence to Verdi to Pavarotti--friend of mine," President Trump said. "Great friend of mine," he added.

Monday, April 17, 2017

On Recordings, Diversity and Bigger Hard Drives

Or maybe I'm just getting less picky.
by Paul J. Pelkonen
You try sorting this out....
When I was setting out to build a classical music library, it was a very exacting process. Every recording that I bought, with my limited grad school budget, had to be perfect. Of course none of them were. But I well remember an insane bike trip through the Back Bay fens and down Charlesgate to trade my copy of the Bernard Haitink Ring in for the Solti and obsessing over various Aidas before discovering that I liked Claudio Abbado's. Hey, I was 22.

Friday, April 14, 2017

Opera Review: The Last Waltz

Many partings mark the Met's new Rosenkavalier.
by Paul J. Pelkonen
Kiss the girls: Octavian (Elīna Garanča) woos the Marschallin (Renée Fleming) in Act I of Der Rosenkavalier. Photo by Ken Howard © 2017 The Metropolitan Opera.
 The end of an era is the subject of Robert Carsen's fascinating new production of Der Rosenkavalier which bowed at the Metropolitan Opera on Thursday night. Updated to Vienna in 1910 (the year of the opera's genesis) this show crackles with nervous energy, a wild party on its final round of the night. Fittingly, this show also marks Renée Fleming's final appearances as the Marschallin in this opera, a part she has played at the Met since the year 2000.

Thursday, April 13, 2017

Metropolitan Opera Preview: Der Fliegende Holländer

Yannick Nézet-Séguin steers into Wagnerian waters.
by Paul J. Pelkonen
Out to sea: Michael Volle as the Flying Dutchman.
Photo by Richard Termine © 2017 Richard Termine courtesy the Metropolitan Opera.
Yannick Nézet-Séguin became the future of the Metropolitan Opera when he accepted the role of music director-to-be at the opera house. Here, audiences can hear him cnduct Wagner at the big house for the first time, as he dips into the stormy waters of Der Fliegende Holländer.

Monday, April 10, 2017

Concert Review: From Ten to One

The San Francisco Symphony encapsulates Mahler's career.
by Paul J. Pelkonen
Busted: Michael Tilson Thomas (right) with Rodin's bust of Gustav Mahler.
Photo taken in the Musikverein, Vienna © San Francisco Symphony
When Gustav Mahler died in 1911, he was working on the Symphony No. 10. He had completed sketches of its five movements, and the orchestration of the opening Adagio. On Saturday night, Michael Tilson Thomas and the San Francisco Symphony paired that movement with the composer's Symphony No. 1, offering a fascinating look at the end and beginning of a composer's legend.

Sunday, April 9, 2017

Concert Review: They're Red-Eyed But Fearless

The San Francisco Symphony returns to New York.
by Paul J. Pelkonen
Michael Tilson Thomas at the helm of the San Francisco Symphony.
Photo courtesy Carnegie Hall.

The conductor Michael Tilson Thomas is in his third decade at the helm of the San Francisco Symphony, one of the longest and most consistent runs of a music director in a music business where maestros change podiums like NFL quarterbacks switching teams in free agency.

Saturday, April 8, 2017

Concert Review: ...And Carry a Small Stick

Valery Gergiev conducts Debussy, Schubert and Mahler.
by Paul J. Pelkonen
An intense moment with Valery Gergiev.
Photo © 2017 Mariinsky Opera.
Any concert under the leadership of Valery Gergiev can be an uncertain affair. His unconventional conducting style, with fingers a-tremble, an impetuous beat and miniscule baton (sometimes no bigger than a toothpick!) gets results, and they're always at least worth writing about. On  Wednesday night at Carnegie Hall, Mr. Gergiev, the newly installed principal conductor of the Munich Philharmonic led his troops in exploration of Debussy, Schubert and Mahler, using his unique podium style to offer fresh and yes, successful insight into these three different composers. For this concert, he used a conventional, (although small) baton.

Friday, April 7, 2017

The Superconductor Interview: Michelle Ross

The violinist has the keys to Bach's solo repertory for her instrument.
by Paul J. Pelkonen
Violinist Michelle Ross.
Photo © The Juilliard School.
"There are so many ways in to this music." Violinist Michelle Ross is speaking of the height of the repertory for her instruments: the six Sonatas and Partitas for solo violin by Johann Sebastian Bach. She last played these works on December 27th in a complete cycle. On Sunday at Le Poisson Rouge, she will offer Discovering Bach, interspersing movements from the six with pieces from Messiaen and Ravel.

Wednesday, April 5, 2017

Opera Review: She's Back on the Clock

A new Violetta in the Met's La Traviata.
by Paul J. Pelkonen
Carmen Giannatasio as Violetta in the Met's La Traviata.
Photo by Marty Sohl © 2017 The Metropolitan Opera.
The Metropolitan Opera's current staging of Verdi's La Traviata is indicative of a demographic split in the company's audience. Older opera-goers (the company's dwindling subscription base) bemoan its stark visuals, longing for the Franco Zeffirelli-designed puff pastries of seasons past. The younger set (whose loyalty is needed for the opera company's survival) like its simple iconography, stark social commentary and snazzy costumes. On Tuesday night, several women in the orchestra seats even cosplayed as Violetta, donning red heels and that scandalous red dress in homage to the opera's fallen heroine.

Tuesday, April 4, 2017

Concert Review: Dionysius Rampant

Valery Gergiev conducts Beethoven and Ravel.
by Paul J. Pelkonen
Valery Gergiev at the helm of his Munich forces.
Photo by Chris Christodoulou at the BBC proms © 2016 The British Broadcasting Company.
An evening with Valery Gergiev on the podium is never dull. The Russian maestro returned to Carnegie Hall on Monday night with his new orchestra, the Munich Philharmonic, and a conservative but lucid program pairing the works of Ravel and Beethoven. This concert marked the first appearance of Mr. Gergiev as the music director of the Munich forces, although he did substitute duty for an ailing Lorin Maazel two years ago.

Monday, April 3, 2017

Opera Review: Ding, Dong, Ditch

New York City Opera dredges up La Campana Sommersa.
by Paul J. Pelkonen
Ring-a-ding-ding. The titular La Campana sommersa (left) with L'Ondino (Michael Chiodi,
Rautandelein (Brandie Sutton, center) and Fauno (Glenn Seven Allen, in leggings) at New York City Opera.
Photo by Sarah Shatz for New York City Opera © 2017.
This week, the New York City Opera offered La Campana Sommersa ("The Sunken Bell") by Ottorino Respighi. This is an opera that has lain neglected at the bottom of the repertory for many years. A sensation in Hamburg, Germany when it premiered in 1927, La Campana made it as far as New York and the stage of the Metropolitan Opera. There, it sunk to the bottom of the repertory where it has lain undisturbed since 1929.

Concert Review: Another Trip to Golgotha

The St. Louis Symphony Orchestra offers John Adams' The Gospel According to the Other Mary.
by Paul J. Pelkonen
At the controls: conductor David Robertson. Photo by Scott Ferguson.
There is some debate as to whether The Gospel According to the Other Mary, the 2013 work for soloists, chorus and orchestra by composer John Adams, is an opera or an oratorio. For Friday night's performance at Carnegie Hall, conductor David Robertson chose the latter option, presenting a straight concert performance of this two-act work on the wide but shallow stage of Stern Auditorium.

Sunday, April 2, 2017

Metropolitan Opera Preview: Der Rosenkavalier

Viennese waltzes and bed-hopping: Strauss' comedy gets a new staging.
Elīna Garanča (top) and Renée Fleming in a publicity photo for the
Met's new production of Der Rosenkavalier.
Renée Fleming has owned the role of the Marschallin in Richard Strauss' Der Rosenkavalier at the Met for the last two decades. Here, she appears in a new production opposite a new Octavian, mezzo-soprano Elīna Garanča. 

Saturday, April 1, 2017

Go to Jail. Do Not Pass 'Go.'

The Met may send Anna Netrebko to the gulag.
by Paul J. Pelkonen
Concept art for the Metropolitan Opera's From the House of the Dead,
Anna Netrebko. Photo by Marty Sohl.
The Metropolitan Opera has been offering glimpses of its future in the New York Times this week. In an interview with Michael Cooper, incoming music director Yannick Nézet-Séguin promised that new productions of Aida and Salome would open future seasons, each starring Anna Netrebko. Superconductor has learned that a third is on the schedule for the Russian diva: a new version of Janacek's From The House of the Dead.

Concert Review: A Minimal Fuss

Steve Reich’s Three Generations opens with John Adams and Terry Riley.
by Paul J. Pelkonen
John Adams and Terry Riley. Their music was celebrated on Thursday night at Zankel Hall.
Photo courtesy Carnegie Hall.

The composer Steve Reich currently occupies the Debs Composers' Chair at Carnegie Hall. That makes 2017 a good spring season for New Yorkers whose tastes run to the masterworks of the late 20th century. Two of those masterpieces were programmed on Thursday at the opening night of Three Generations, a four-concert series that Mr. Reich is curating at Carnegie’s subterranean venue Zankel Hall. Following the performance, Mr. Reich led a short discussion with fellow composer John Adams and Brad Lubman, leader of the evenings performance.

Friday, March 31, 2017

Opera Review: Nature Red in Tooth (and claw)

Manhattan School of Music presents a cunning little Vixen.
by Paul J. Pelkonen
Right before the feathers fly: the Vixen Sharp-Ears (Shantal Martin, foreground)
gets ready to ravage a chorus of chickens. Photo courtesty Manhattan School of Music.
Adaptations of cartoons and comics as popular entertainment are now commonplace in popular culture. A hundred years ago, that form of entertainment was opera, and it was Moravian composer Leoš Janáček who had the idea of taking a popular children's comic strip from a Brno paper and making it into an opera. Příhody lišky Bystroušky (literally "The Adventures of Vixen Sharp-Ears", also known as "The Cunning Little Vixen" was way ahead of its time. On Thursday night, the Senior Opera Theater of Manhattan School of Music unveiled a new bare-bones staging of this challenging three-act opera (sung in English) with a cast of young singers applying themselves to recreating the woodland fantasy of this vivid, vital opera.

Tuesday, March 28, 2017

Opera Review: New Blood for the Old Kingdom

The third cast is the charm for the Met's long-running Aida.
by Paul J. Pelkonen
Radàmes (Jorge de Léon, left) and Aida (Krassmira Stoyanova) in Act III of Aida
at the Metropolitan Opera. Photo by Marty Sohl © 2017 The Metropolitan Opera.
Old-time opera goers love the Metropolitan Opera's Aida, for Verdi's sublime melodies and for the big, martial choruses. Tourists, who have opted for this Met's Egyptian experience over the Temple of Dendur uptown, love it for the "sandstone" sets and elaborate Egyptian palaces, adorned with heiroglyphics, and the real horses in Act II. The show balances '80s excess with economical stage design and has played successfully for almost thirty years. It is always spectacular. But at the Met, Aida isn't always...ya know, good.

Monday, March 27, 2017

Superconductor Audio Guide: Ariadne auf Naxos

This comedy was the first Richard Strauss opera to be about...opera. 
by Paul J. Pelkonen
The Twmple of Apollo on the Greek island of Naxos.

the world of opera not everything goes as planned.

A case in point: Richard Strauss’ sixth opera and third collaboration with librettist Hugo von Hofmannsthal. The 1912 version of Ariadne auf Naxos was meant to be performed as a pendant to a Hofmannsthal adaptation of the Moliére play Le Bourgeois Gentilhomme, for which Strauss had written incidental music. Ariadne (planned as a 30 minute divertissement) would be the crowning jewel of the play. Except that Strauss’ opera ran 90 minutes, and when added to the already long Moliére play, the result was an evening longer than Die Meistersinger. 

It was the pair’s first failure. 

Saturday, March 25, 2017

Opera Review: There's Not a Lot of Money in Revenge

New Amsterdam Opera mounts La Forza del Destino.

Face-off: Tenor Errin Brooks (in profile) confronts baritone Stephen Gaertner
in La Forza del Destino at New Amsterdam Opera. Photo by Bidrum Vabish.

I have a confession to make. Up until yesterday, I had never heard of the New Amsterdam Opera. And then, on Friday afternoon on Facebook, a colleague and fellow critic mentioned that he was going to see their concert performance of Verdi’s La Forza del Destino ("The Force of Destiny") in the theater at Riverside church that very night. So it was my great pleasure to finds out that conductor Keith Chambers and his company were tackling Verdi’s most challenging opera in a concert performance.

What’s more, they did it with style.

Friday, March 24, 2017

Superconductor Audio Guide: Der Rosenkavalier

Strauss' immortal comedy veers from the bedroom to the drawing-room.
by Paul J. Pelkonen
Detail from Rafal Olbinski's poster for the Opera Pacific's production of Der Rosenkavalier.
Art © Rafal Olbinski Estate and Opera Pacific
Richard Strauss and Hugo von Hoffmannsthal are one of the most famous composer-librettist teams of the early 20th century. Der Rosenkavalier ("The Knight of the Silver Rose") which walks the line between raunchy sex farce and polite comedy of manners is the most famous example of their collaboration, matching Strauss' elaborate orchestra to a comic opera that would have made Lorenzo da Ponte proud.

Thursday, March 23, 2017

Metropolitan Opera Preview: Eugene Onegin

La Netrebko returns opposite two substitute baritones in Tchaikovsky's drama.
by Paul J. Pelkonen
Anna Netrebko in the Act I "letter scene" from Eugene Onegin.
Photo by Ken Howard © 2014 The Metropolitan Opera.
Anna Netrebko returns to the role of Tatiana in the production she created in 2013. Her Onegin(s) will be Mariusz Kwiecien and Peter Mattei. They are substituting for Dmitri Hvorostovsky, who has declared himself unable to perform due to cancer treatments.

Tuesday, March 21, 2017

Opera Review: March to the Scaffold

The Metropolitan Opera (finally) revives Fidelio.

Oh happy we: Leonore (Adrinane Pieczonka) is reunited with Florestan  (Klaus Florian Vogt) in
Act II of Fidelio. Photo by Ken Howard courtesy The Metropolitan Opera.

In the current political climate, Beethoven's Fidelio, with its call for freedom in the face of corruption and the naked abuse of power is more relevant than ever, so it is fitting that this month marks the Metropolitan Opera’s first revival of the show in eleven years. The players have changed radically, but Jürgen Flimm’s grim, unrelenting production has not. It is still set in a bare modern prison, adorned by white industrial lights, inexplicable trash heaps and sadistic  guards toting automatic rifles and nightsticks.

Monday, March 20, 2017

Opera Review: Smoke Gets in His Eyes

The Orchestra Now plays Respighi and Wolf-Ferrari.
by Paul J. Pelkonen
Don't say we didn't warn you.
In his capacity as a musical archeologist, Leon Botstein unearths little-heard compositions, and leads them before the discerning ears of those who attend his orchestral concerts. In his other job, he is the president of Bard College, that bastion of liberal arts learning on the Hudson River near Peekskill. Starting last season, Dr. Botstein combined these jobs, emerging as the leader of The Orchestra Now, comprised of Bard's masters' candidates setting forth upon the concert stage. This ensemble played Carnegie Hall Friday night as part of its spring concert season, with Dr. Botstein on the podium.

Friday, March 17, 2017

Opera Review: It Ain't Exactly Shakespeare

Loft Opera mounts the Rossini Otello.
by Paul J. Pelkonen
A word before you go: Otello (Bernard Holcomb) assaults Desdemona (Cecilia Lopez) in Rossini's opera.
Photo by Robert Altman for LoftOpera.
LoftOpera opened its 2017 season last night, choosing LightSpace Studio, a high-ceilinged, white-walled warehouse on Flushing Avenue in Bushwick as the venue for the company's first staging of Rossini's Otello. Yes, you read that right. There's a (now mostly forgotten) Rossini version of this Shakespeare story, written back in 1816 and a pinnacle of the repertory before it was eclipsed by the Giuseppe Verdi opera from 1887. This performance marked the first New York staging in forty years.

Concert Review: A Composer's Fancy

Alan Gilbert and Yo-Yo Ma premiere the Salonen Cello Concerto.
by Paul J. Pelkonen
Yo-Yo Ma onstage with the New York Philharmonic.
Photo by Chris Lee © 2017 The New York Philharmonic.
The New York premiere of a new concerto by a major composer is always an event. On Wednesday night at David Geffen Hall, that composer was the new music rock star Esa-Pekka Salonen, currently composer-in-residence at the New York Philharmonic. The work: his new Concerto for Cello and Orchestra. The soloist: Yo-Yo Ma, the most famous cellist in the world. Mr. Ma and Mr. Salonen played this work together on March 9, giving its world premiere in Chicago. Here, the conductor was Alan Gilbert.

Wednesday, March 15, 2017

Concert Review: With a Swish and a Flick

Harry Potter and the Sorceror's Stone comes to NJPAC.
by Paul J. Pelkonen
Harry Potter (Daniel Radcliffe) tries out a wand at Ollivander's.
Image from Harry Potter and the Sorceror's Stone copyright 2001 Warner Brothers Entertainment. 
The global phenomenon of Harry Potter, chronicling the struggle of an eponymous boy wizard against the forces of darkness,exists in many forms. There are the original seven books. The books have been made into eight films, nine if you count the new Fantastic Beasts and Where to Find Them. There are mugs, posters, plates, scarves and theme parks. And now there’s a concert series, which made its New Jersey debut on Saturday afternoon at NJPAC. (A followup is scheduled for October 28 of this year, featuring the score for Harry Potter and the Chamber of Secrets.)

White Smoke at Lincoln Center

Deborah Borda named new President, CEO of New York Philharmonic
by Paul J. Pelkonen
The auditorium at David Geffen Hall.
Photo © 2017 Lincoln Center for the Performing Arts.

The uncertain future of the New York Philharmonic just got a lot clearer.

It was announced this morning that Deborah Borda will return to the historic orchestra as its new President and Chief Executive Officer. Ms. Borda will start her term on Sept. 15, 2017.

Monday, March 13, 2017

Concert Review: The Swan and the Pigeon

Tenor Mark Padmore gives a Schubertiade.
by Paul J. Pelkonen
Tenor Mark Padmore. Photo by Richard Termine.
No composer had it harder than Franz Peter Schubert. His greatest symphonies were locked in drawers until long after his death. His songs brought him some fame but his operas and choral works remain neglected outside his native Austria. And to top it all off, he died at 31, younger even than Mozart and Mendelssohn who each lived four years longer.

Sunday, March 12, 2017

Concert Review: Memories of the Adams Administration

The New York Philharmonic presents two sides of John Adams.
The composer John Adams. Photo by Margaretta Mitchell.
John Adams is no longer the nervy young composer who rode a minimalist wave to popularity with operas like Nixon in China. He is 70 now, and his belated birthday celebration was the subject of this week's set of all-Adams concerts at the New York Philharmonic under Alan Gilbert. He was at Friday's matinee concert, a known quantity warmly greeted by an audience that is often hostile to any music written after 1910.

Friday, March 10, 2017

Opera Review: The Ghosts in the Darkness

Yannick and the Philadelphians visit Duke Bluebeard's Castle.
by Paul J. Pelkonen
What key is it in? Bluebeard and his wife.
Illustration by Gustave Dore.
Yannick Nézet-Séguin jumped to the forefront of conductors in the musical conscience of musically conscious New Yorkers last year when he became the newest music director in the history of the Metropolitan Opera. On Tuesday night, opera lovers got a taste of his abilities in that genre when he brought the Philadelphia Orchestra to Carnegie Hall for a performance of Béla Bartók's lone opera: Duke Bluebeard's Castle.

Thursday, March 9, 2017

Metropolitan Opera Preview: Fidelio

Beethoven's lone opera returns to the big house. 
by Paul J. Pelkonen
Adrienne Pieczonka in the title role of Beethoven's Fidelio.
Photo © 2014 Royal Opera House of Covent Garden.
Beethoven only wrote one opera: the strange yet stirring Fidelio. Adrienne Pieczonka plays a brave wife who dresses in drag and gets a job as a jailor in order to get her husband out of prison. This is the first Met revival in over a decade.

Tuesday, March 7, 2017

Opera Review: Altar'ed States

Matthew Polenzani takes on Idomeneo at the Met.
Idomeneo (Matthew Polenzani, left) contemplates sacrificing his son Idamante (Alice Coote, kneeling) in Act III of Mozart's Idomeneo.  Photo  by Marty Sohl Copyright 2017 The Metropolitan Opera.

James Levine, the Metropolitan Opera’s music director emeritus continued his tour of the great Mozart operas on Monday night with this season’s first revival of Idomeneo. This staging of the 1781 opera seria featured a cast of singers that have been groomed and nurtured under Mr. Levine's hand. Last night, the most notable of these was tenor Matthew Polenzani. He sang the title role, a part essayed on the big Met stage by both Luciano Pavarotti and Placido Domingo in decades past.

Concert Review: Everything is Awesome!

The St. Petersburg Philharmonic plays Shostakovich.
by Paul J. Pelkonen
Yuri Temirkanov has led the St. Petersburg Symphony Orchestra since 1988.
Photo courtesy Medici.tv.
In 1988, Yuri Temirkanov became music director of what was then the Leningrad Philharmonic Orchestra. Russia was then the Soviet Union, under the leadership of Andrei Gromyko. Perestroika and Glasnost were just around the corner. On Saturday night, Mr. Temirkanov and his orchestra returned to Carnegie Hall, offering a devoted audience a meat and potatoes program of Brahms and Shostakovich, with the latter's Fifth Symphony among his most popular and politically motivated creations.

Sunday, March 5, 2017

Concert Review: Ain't No Sunshine

Alan Gilbert takes on the Mahler Fourth.
by Paul J. Pelkonen
New York Philharmonic artist-in-residence Leonidas Kavakos played a new concerto by
Lera Auerback

In the online marketing materials for this week’s series of concerts at David Geffen Hall, featuring a new violin concerto by composer Lera Auerbach and Mahler’s Symphony No. 4 in G Major, the orchestra’s promotion department referred to the latter as Mahler's “sunniest” work. However, as Friday nights concert under the baton of music director Alan Gilbert showed, this concert offered very little in the way of solar illumination.

Saturday, March 4, 2017

Concert Review: He's Only Just Begun

Berlioz, George Benjamin and Ravel with the BSO at Carnegie Hall.
by Paul J. Pelkonen
Hector Berlioz (center) and his muse Harriet Smithson as depicted on the poster for
the 1942 French film Symphonie-fantastique.
Andris Nelsons and the Boston Symphony Orchestra concluded their three-concert stand at Carnegie Hall on Thursday night with a concert featuring the New York premiere of a major work by George Benjamin, flanked by the French music of Maurice Ravel and Hector Berlioz. Although this concert used smaller orchestral forces than Tuesday's all-out assault, this was by far the most expansive and ambitious of the three subscription programs that they had chosen to import from their 2016-17 offerings at their Huntington Avenue home.

Friday, March 3, 2017

Concert Review: The Priest of Beethoven

The BSO plays Schuller, Mozart and Beethoven's Eroica.
by Paul J. Pelkonen
Andris Nelsons in flight.
Photo by Marco Borggreve for the Boston Symphony Orchestra.
Night Two of the Boston Symphony Orchestra's three concerts at Carnegie Hall this week featured music from three centuries, as music director Andris Nelsons showed his ease with different eras and styles of classical music.

The Unreliable Aristocrat

Jonas Kaufmann ditches Tosca at the Met.
by Paul J. Pelkonen
He's moving on: Jonas Kaufmann, shown here in the Met staging of Parsifal
in 2012, will not be appearing in Tosca later this year.

It's all just a little bit of history repeating: Jonas Kaufmann will not be singing at the Met this year. The news dropped today from Michael Cooper at the New York Times.

Opera Review: A Close Shave

Rossini's Barbiere cuts it up in Kanazawa.
by Paul J. Pelkonen
This store is in Minnesota but Rossini's Barbiere was open for business in Kanazawa, Japan last month.
Gioachino Rossini’s ‘Il Barbiere di Siviglia’ remains one of the most popular operas in the western canon, with a two hundred year performing tradition. On Sunday, February 20, that tradition came to the west coast of Japan, as the Orchestra Ensemble Kanazawa offered a semi staged, concert version of the Italian masterpiece, under the baton of Marc Minkowski. The performance, in the OEK's gorgeous, modern mid-sized concert hall, featured columnar LED titles (in Japanese) on either side of the acting area.

Thursday, March 2, 2017

Concert Review: A Certain Sense of Drama

Andris Nelsons and the BSO take Leningrad.
by Paul J. Pelkonen
Andris Nelsons at the helm of the Boston Symphony Orchestra.
Photo by Marco Borggreve © 2016 Boston Symphony Orchestra.
Andris Nelsons is in his third year at the Boston Symphony Orchestra, and the fiery Latvian conductor has been nothing but good for this august ensemble. On Tuesday night, Mr. Nelsons led the first of three Carnegie Hall concerts this week. He opened his New York run with an ambitious pairing: a new concerto by Russian composer Sofia Gubaidulina and the longest symphony by Dmitri Shostakovich: the Seventh.

Wednesday, March 1, 2017

A First Look: The Metropolitan Opera 2017-18

Superconductor previews the coming season at the big house.
by Paul J. Pelkonen
This is why we can't have nice things: a scene from the cancelled Calixto Bielto La Forza del Destino, 
staged last summer at the London Coliseum,. Photo by Robert Workman for the English National Opera.

The Metropolitan Opera released its schedule on Feb. 15, 2016, with a curious lack of fanfare. Now that your friendly correspondent is back from Japan and no longer jet-lagged, it's time to look at the slate of operas on offer for next year.

This schedule is a dull offering from an opera company in an ever-increasing sense of crisis under general manager Peter Gelb. There are only five new productions (one of them a U.S. premiere) and just eighteen operas in the generale (I'm sorry, but staging the same Julie Taymor productions of Die Zauberflöte and (a shortened English-language) The Magic Flute do not count as separate operas! For that matter, neither do the pair of Cavalleria Rusticana and Pagliacci which will be played as per usual on the same evening.)

Metropolitan Opera Preview: Idomeneo

Power, mystery and a gigantic sea monster in Mozart's drama.
by Paul J. Pelkonen
The supernatural climax of Mozart's Idomeneo.
Photo by Marty Sohl © 2006 The Metropolitan Opera.
Matthew Polenzani takes on the title role in Mozart's challening drama, an opera seria thar chronicles the trials and tribulations of a Cretan king who returns from the Trojan War only to find out that the gods demand a sacrifice: his only son.

Tuesday, February 28, 2017

Concert Review: Diamonds on Velvet

Rudolf Buchbinder joins the Vienna Philharmonic.
by Paul J. Pelkonen
Rudolf Buchbinder played Brahms' Piano Concerto No. 1 at Carnegie Hall on Friday night.
Photo by Marco Borggreve.
In The Holcroft Covenant, a thoroughly mediocre 1980s film version of a Robert Ludlum novel, there is an apt description of everyday concert programming. In this Michael Caine vehicle, the main characters attend a rehearsal at the Philharmonie, the home building of the Berlin Philharmonic. They are invited to the concert that evening by the conductor:

Concert Review: On With the Revolution

The Osaka Philharmonic Orchestra plays Shostakovich.
by Paul J. Pelkonen
Russian propaganda poster commemorating the rebellion on the battleship Potemkin
and the uprisings of the year 1905.
Like the people of Russia, the Eleventh and Twelfth Symphonies of Dmitri Shostakovich have suffered since their premieres. Composed at the peak of the composer's considerable powers, these pieces as grand public gestures, written to commemorate the start of the Russian Revolution (in the Eleventh) and its triumphant conclusion in the Twelfth. Each symphony is a programmatic work in four movements, requiring enormous orchestral forces and considerable lung power from the woodwinds and brass.

Monday, February 27, 2017

Concert Review: The Highlander Way

The sounds of Scotland come to Fukuoka.
by Paul J. Pelkonen
Maestro Shao-Chia Liu led the Kyushu Symphony Orchestra in Mendelssohn and Bruch.
Photo from the Taiwan Philharmonic.
The vast distance between Scotland and Fukuoka, located on the southern island of Kyushu, Japan narrowed on Friday, February 17, when the Kyushu Symphony Orchestra offered an evening of works inspired by that faraway country. On the podium, Shao-Chia Lu, a guest conductor visiting from Taiwan where he is the music director of the Taiwan Philharmonic.

Concert Review: Beyond the Zero

The Hiroshima Symphony Orchestra plays for peace.
by Paul J. Pelkonen
(A version of this article was originally published in Japanese translation by the Association of Japanese Symphony Orchestras, reused with permission)
Charles Richard-Hamelin plays the bombed piano, a Baldwin upright that survived
the nuclear blast. In the background looms the A-Bomb Dome, which was not as lucky.
Photo © 2017 Association of Japanese Symphony Orchestras and Hiroshima Peace Museum.
The city of Hiroshima, located on the southern end of the big Japanese island of Honshu, remains best known for one date: Aug. 6, 1945. This was where the American bomber Enola Gay dropped "Little Boy," the first of only two atomic bombs ever used against human beings. Since that fatal day, Hiroshima has returned from its ashes as a symbol of international peace. The Peace Museum, the Cenotaph and the A-Bomb Dome (a building that survived the blast) speak volumes by simply standing and saying nothing.

Sunday, February 26, 2017

Concert Review: When Time is Illusion

The Vienna Philharmonic returns to Carnegie Hall.
Franz Weiser-Möst led the Vienna Philharmonic on Friday night.
Photo by Michael Pöhm courtesy IMG Artists.

The arrival of the Vienna Philharmonic at Carnegie Hall is a cause for general celebration (if you have tickets) and a reason for people to swarm on the sidewalk seeking a single or a pair to hear this venerable orchestra and its unique sound. On Friday night, the Viennese gave the first of three weekend concerts under the baton of Austrian son Franz Welser-Möst.

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Since 2007, Superconductor has grown from an occasional concert or CD review to a near-daily publication covering classical music, opera and the arts in and around NYC, with excursions to Boston, Philadelphia, and upstate NY. I am a freelance writer living and working in Brooklyn NY. And no, I'm not a conductor.