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Jason Victor Serinus - July 13, 2009

Chromatic gales, emotion-churning dissonances, and vocal writing so torturous it makes you wonder whether the all-star cast is composed of masochists: Such is the score for Thomas Adès’ three-act opera, The Tempest.

Jesse Hamlin - July 13, 2009
Over the last 18 years, Maestro Bruno Weil has transformed the Carmel Bach Festival into a major international event. The seaside festival, which celebrates the music of J.S. Bach and the composers inspired by him, is known for the rich range of its programming and the consistent high quality of its performances.
James Keolker - July 13, 2009

Everything about Puccini’s opera Turandot is big: big orchestra, big voices, big chorus, enormous sets, and massive emotions. So it is daring for a company the size of Festival Opera to undertake such a giant. But no need to worry, for this is a triumphant Turandot.

Jason Victor Serinus - July 7, 2009
Pentatone Classics has issued a veritable bonanza of recent American song, half of which come from Bay Area composers. And if the Song Be Worth a Smile, which takes its name from a line in Gordon Getty’s setting of his poem “The Ballad of Poor Peter,” features songs by William Bolcom, Jake Heggie, David Garner, John Corigliano, Luna Pearl Woolf, and Getty himself.
Janos Gereben - July 7, 2009

MTAC Celebrates Five Days of the Fourth

Ian Swensen
Just when music seasons have ended, and y
Robert Moon - July 6, 2009
“It’s easy to like chamber music because it’s a conversation between a small number of musicians — and everyone knows what talking with a small group of friends is like,” said violinist Simin Ganatra of the Pacifica Quartet, which makes its first appearance at Music@Menlo, the three-week chamber music
Steven Winn - July 6, 2009
In this striking double-disc of contrasting moods and temperaments, violinist Gidon Kremer and pianist Martha Argerich take up a program of Schumann and Bartók sonatas. From Kremer’s leisurely, sun-dappled pizzicato statement of the third-movement theme in Schumann’s Violin Sonata No.
Jason Victor Serinus - July 6, 2009
Not yet 29, conductor Alondra de la Parra made history as the first woman from Mexico to conduct in New York City. In her short career, she has presented more than 20 world premieres by such composers as Clarice Assad, Enrico Chapela, Paul Brantley, Paul Desenne, and Eugenio Toussaint.

In 2000, de la Parra moved to New York City where she received her B.A.

Janos Gereben - July 6, 2009
Most “one-opera composers” are not. They are known for a single work in the theater, but it’s not for lack of trying.
Heuwell Tircuit - July 6, 2009
Before opening the annual Midsummer Mozart Festival, there’s a tradition that musicians from the festival orchestra get together for smaller chamber music concerts of the great composer’s music. Because the possibilities are nearly infinite as regards instrumentation, anything can turn up as they preach to the faithful.