Concert Review: The Last Steps to Infinity

Daniel Barenboim ends his Bruckner cycle with the Ninth.
by Paul J. Pelkonen

Daniel Barenboim in action at Carnegie Hall.
Photo by Steve J. Sherman.

The first complete cycle of all nine numbered symphonies by Anton Bruckner came to its end on Sunday with a matinée concert featuring the composer's last work: the Symphony No. 9 in D minor. The project was the vision of conductor Daniel Barenboim, who led the Staatskapelle Berlin (as he has for the last 25 years) in all nine concerts at Carnegie Hall over eleven days.

Concert Review: Climbing Twin Peaks

The Carnegie Hall Bruckner cycle reaches its climax.
by Paul J. Pelkonen

Your guide to Bruckner: Daniel Barenboim.
Photo by Paul Schimhofer © 2017 Deutsche Grammophon/UMG

This week, Daniel Barenboim and the Staatskapelle Berlin are wrapping up their epic cycle of nine Bruckner symphonies at Carnegie Hall. Friday's concert featured the Symphony No. 7 paired with Mozart's Sinfonia Concertante in E Flat Major. Saturday featured No. 8 all by itself: the longest work in the Bruckner catalogue and the most demanding of the listener's sense of faith: in both Bruckner himself and the ability to build enormous bridges of sound bulwarked by harmony and counterpoint.

Concert Review: Some Sentimental Hygiene

Semyon Bychkov opens the New York Philharmonic's Tchaikovsky Festival.
by Paul J. Pelkonen

Pianist Yefim Bronfman, concertmaster Frank Huang (with violin) conductor Semyon Bychkov (standing) and cellist Carter Brey work through Tchaikovsky's Piano Concerto No. 2. Photo by Chris Lee © 2017 The New York Philharmonic.

Piotr Ilyich Tchaikovsky is arguably the most popular composer to come out of Russia in the 19th century. His blend of traditional folk-like themes with Western classical structures remains appealing to the ear, and the unfettered Romantic sensitivity of his music makes him a box office draw. The New York Philharmonic chose him for the focus of this year's series of festival concerts, but in doing so may not have gotten what New Yorkers expect.

Metropolitan Opera Preview: Rusalka

It's like The Little Mermaid but with more death.
by Paul J. Pelkonen

The sleeper must awaken: Kristin Opolais (rear) and Brandon Jovanovich (foreground) in Rusalka.
Photo by Ken Howard © 2017 The Metropolitan Opera.

The Met plunges into a new production of Dvořák's Rusalka, a Czech fairy tale with gorgeous music and a dark but oh-so-Romantic ending. Kristine Opolais sings the title role, which has become one of her signature parts in recent years.