Concert Review: The Ignition Sequence

Yannick Nézet-Séguin leads the MET Orchestra at Carnegie Hall.
by Paul J. Pelkonen

There comes a time in the career of an opera singer where, through either good fortune or exceptional skill, they rise from the ranks of the roster and ignite as a genuine operatic star. For the  Isabel Leonard, 2018-19 at the Metropolitan Opera was that year, where the mezzo-soprano rose to the occasion in three major roles: Marnie, Melisande and Sister Blanche in Dialogues des Carmelites. On Monday night, Ms. Leonard capped a season which featured performances as Marnie, Melisande and Sister Blanche with a performance at Carnegie Hall, accompanied by the MET Orchestra under music director Yannick Nézet-Séguin.

Concert Review: The Messiah Complex

Evgeny Kissin returns to Carnegie Hall.
by Paul J. Pelkonen

The chosen one, at the controls. Evgeny Kissing at Carnegie Hall.
Photo by Steve J. Sherman.

"Oh my God," the woman said. "He's amazing! He's like the Chosen One!"

Everybody loves a good salvation story, which might be why the above was said about Evgeny Kissin at intermission (right next to my seat) at last night's Carnegie Hall concert.. The storied Russian pianist made his yearly visit to the historic venue with an intelligently constructed program, dovetailing neatly between the development of music for his instrument in the 19th and 20th centuries. As the recital was sold out, Carnegie Hall added seating on the Perelman Stage, both behind and to the left of the artist as he played.

Concert Review: Time Standing Still

efim Bronfman returns to Carnegie Hall.
by Paul J. Pelkonen

Yefim Bronfman, shown here in performance at the 92nd St Y,
returned to Carnegie Hall this week. Photo by Chris Lee © 2018 The New York Philharmonic.

One of the pleasurable difficulties in covering so-called “classical” music concerts is encountering an artist for whom the word “criticism should not be too stringently applied. Such an artist is the pianist Yefim Bronfman, who returned to Carnegie Hall on Thursday night for a solo recital of Debussy, Schumann and Schumann. All the works chosen were executed at a very high level indeed.

Well, that was easy, wasn't it? Ok. Maybe a little more.

Concert Review: The Young Magician's Guide to the Piano

Seong-Jin Cho plays Pictures at an Exhibition.
by Paul J. Pelkonen

The South Korean pianist Seong-Jin Cho returned to Carnegie Hall on Tuesday night.
Photo by Harald Hartmann.

The pianist Seong-Jin Cho is a fast-rising star on the international virtuoso circuit. On Tuesday night, regular programming at Carnegie Hall resumed with Mr. Cho's second recital at that venue. He came to play, armed with a formidable program of works by Schubert, Debussy and Mussorgsky.

Metropolitan Opera Preview: Pélleas et Melisande

Is it a fairy tale, or a nightmare of domestic violence?
by Paul J. Pelkonen

Melisande at her well. Photo by Marty Sohl © 2019 The Metropolitan Opera.

Lovers of French impressionist music and post-Wagnerian drama should run, not walk to this one.  This is one of the essential revivals of the winter. Pélleas is one of the greatest French works of the 20th century and a true test of the mettle of music director Yannick Nézet-Séguin.

Concert Review: The Pointillist Procedure

Pianist Ian Hobson continues his Debussy and Ravel series at SubCulture.
by Paul J. Pelkonen

The pianist Ian Hobson is giving a six recital series at SubCulture this season.
Photo from the artist's website, courtesy Hemsing Associates.

The pianist and academic Ian Hobson may not be as well known as the flashy virtuosos who pack the schedule of major concert venues. However, sometimes the best recitals are those that are on a more intimate scale. On Wednesday night, Mr. Hobson, a veteran soloist and conductor and recording artist who also teaches music at Florida State came back to New York for the third of six recitals this season at SubCulture. Tucked downstairs on Bleecker Street, this funky downtown performance space is currently in a struggle to reclaim its spot at the front of the cutting edge of Gotham performance venues.

Concert Review: From Serenity to Oblivion

Stephen Hough in recital at Carnegie Hall.
by Paul J. Pelkonen

The always dapper Stephen Hough and friend.
Photo by Sim Canetty Clarke provided by Carnegie Hall. 

There's a three-word cliché used by tired (and too-wired) classical music journalistas to describe Stephen Hough. That cliché is the "thinking man's pianist." Cliché or no, he remains an intelligent and slightly aloof artist, who is most often heard in the concerto format. On Tuesday night, Mr. Hough, a dapper gent (who looks like he just auditioned for a certain BBC science fiction series) made his welcome return to Carnegie Hall for an evening of Debussy, Schumann and Beethoven.

Concert Review: The Woman Who Played With the Sea

Susanna Mälkki returns to the New York Philharmonic.
by Paul J. Pelkonen

The conductor Susanna Mälkki returned to the New York Philharmonic this week.
Photo by Sakari Viika © 2017 Helsinki Philharmonic Orchestra.

Just a couple of years ago, a number of names were tossed around as candidates for who should become the New York Philharmonic's next music director. One of the leading candidates was Susanna Mälkki, the Finnish conductor who is best known to New Yorkers for leading the 2016 New York premiere of her compatriot Kaija Saariaho's opera L'amour de Loin. Ms. Mälkki did not get the job, but she returned to the Philharmonic this week.

Concert Review: The Kids Are Alright (though one is a brat)

The Juilliard Orchestra plays Debusssy and Ravel.
by Paul J. Pelkonen

Conductor Emmanuel Villaume led the Juilliard Orchestra on Monday night.
Photo by Paul Leclaire.

The combined forces of Juilliard Orchestra and Juilliard Opera students came together on Monday night to give an evening of Debussy and Ravel, a set of performances that offered a much needed beacon of musical hope in what is a particularly dark and troubled time for the arts community around Lincoln Center. The program, under the direction of French conductor Emmanuel Villaume offered a major work by each composer and a Ravel rarity to boot.

Opera at Random: Pelléas et Mélisande

A walk in the dark woods with Claude Debussy.
by Paul J. Pelkonen

A scene from the (rather beautiful) Robert Wilson staging of
Pelléas et Mélisande from the Opera de Paris. Photo courtesy medici.tv.

Like the forests of Allemonde, Superconductor was dark for the last week as I rested, recharged and figured out what direction I want to take this blog in next. Today, I borrowed an idea from the composer John Cage: indeterminacy. Using the shuffle function on my old 160GB iPod Classic to decide which composer I'm writing about. And the winner is: Claude Debussy and his lone opera: Pelléas et Mélisande.

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.

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.

Obituary: Pierre Boulez (1925-2015)

The French conductor, composer, creative force was 90.
by Paul J. Pelkonen

Pierre Boulez on the podium. He never used a baton.
Photo © Universal Music Group.

Pierre Boulez died yesterday. He passed at his home in Baden-Baden, Germany, according to a report published on the  The French composer and conductor was a key figure in shaping the music and performance style of the latter half of the 20th century. He was 90 years old.

Concert Review: To Seek a Newer World

The New World Symphony plays Carnegie Hall.
by Paul J. Pelkonen

Anne-Sophie Mutter.
Photo by Lillian Birnbaum for DG/UMG

Tuesday night at Carnegie Hall featured a rare New York appearance by the New World Symphony, the Miami-based training orchestra that has given that Florida city fresh musical life. Led by founder and artistic director Michael Tilson Thomas, the NWO played an eclectic program centered around solo violinist Anne-Sophie Mutter. The German violinist, celebrating 35 years as an international touring virtuoso is one of this season's Perspectives artists at Carnegie.

Happy Birthday, Pierre Boulez!

The super conductor turns 90. Here is a list of his best recordings.
by Paul J. Pelkonen

Pierre Boulez.

"I love to conduct but I feel that it is no longer necessary."--Pierre Boulez

The great Pierre Boulez turns 90 years old today and we would like to celebrate with a list of the composer-conductor's greatest efforts on disc. Boulez is a composer first, a creator of new traditions and a breaker of old ones. His early music spawned the sound of the second half of the 20th century, his later works mark his status as an original thinker and tireless seeker.

Concert Review: Dreams Into Action

The St. Louis Symphony returns to Carnegie Hall.
by Paul J. Pelkonen

David Robertson. Photo by Keith Saunders © 2015 the Sydney Symphony Orchestra.

On Friday night, a bitter (and hopefully final) blast of snow and sleet welcomed the St. Louis Symphony to Carnegie Hall. The orchestra and chorus are one of North America's strongest and yet underrated ensembles. Despite being the oldest orchestra in the Midwest (they're second only to the New York Philharmonic in terms of overall longevity, St. Louis does not have the glitzy cachet of "big five" orchestras like Chicago or Cleveland. However, they do have a rich sound, a strong work ethic and a music director, David Robertson unafraid of innovative programming.

Concert Review: The Virtuoso in Winter

Marc-Andre Hamelin plays the 92nd St. Y.
by Paul J. Pelkonen

Marc-André Hamelin. Photo by Sim Canetty Clark for Colbert Artists Management.

The annual appearance of Marc-Andre Hamelin in a solo piano recital is an occasion that few lovers of keyboard mosic would dare miss. Yet Saturday night's thick, wet snowstorm made travel to the 92nd St. Y a difficult endeavor for some. Those in attendance heard the acclaimed virtuoso play a varied program, featuring the music of Debussy, John Field and Liszt alongside one of his own compositions.

Concert Review: Spirits From the Vasty Deep

The Chicago Symphony Orchestra returns to Carnegie Hall.
by Paul J. Pelkonen

The impassioned, imposing Riccardo Muti.
Photo from RiccardoMutiMusic.com

A New York visit by the Chicago Symphony Orchestra is always an event, especially with the mercurial Neapolitan conductor Riccardo Muti at the helm of this storied orchestra. Last Friday night, Mr. Muti led his troops in the first of three weekend concerts at the Hall, with a program of Mendelssohn, Debussy and Scriabin.

Concert Review: Stepping Into the Big Time

Associate Conductor Case Scaglione leads the New York Philharmonic.
by Paul J. Pelkonen

On the Case--Scaglione at the New York Philharmonic.
Photo by Chris Lee © 2014 The New York Philharmonic.

The position of associate conductor at a major symphony orchestra is not a glamorous job. They lead offstage brass ensembles (and choruses) in big works like Mahler's Resurrection and Strauss' Alpensinfonie. They run children's concerts. But once in a while, they take the main stage and lead an ensemble like the New York Philharmonic. For this week's subscription concerts (heard Wednesday night at the soon-to-be-renamed Avery Fisher Hall) it was the turn of NY Phil associate Case Scaglione to step onto the podium for a trio of 20th century classics.

Concert Review: Big Wheel Keep On Turnin'

The NJSO opens with Carmina Burana.
by Paul J. Pelkonen

The conductor Jacques Lacombe.
Photo by Daniel Cossette © 2014 Canadian Broadcasting Company

Newark, New Jersey became the focal point of high culture on Friday night when the New Jersey Symphony Orchestra opened its 2014 season at Prudential Hall, the gorgeous and unlikely concert venue that has been the ensemble's home since 1997. The occasion was a gala evening with former governors, politicos and a crowd of well-dressed donors, all gathered to hear Jacques Lacombe lead his troops through Carmina Burana, Carl Orff's 1937 song cycle based on medieval Bavarian texts.