In scanning the calendars of symphony orchestras this season, you may notice that Shostakovich is having a moment. And it’s not just the popular Fifth Symphony that is getting all the attention (though it is certainly making the rounds).
The Boston Symphony is performing the Russian composer’s Symphony No. 2 “To October” (Nov. 21-26), the San Francisco Symphony is featuring the Seventh (Oct. 24-26), the Chicago Symphony has just revived the Eighth (I produce the CSO’s radio broadcasts), Minneapolis is doing the Ninth (Oct. 10-11) and both the Oslo Philharmonic and the Netherlands Radio Philharmonic in Amsterdam are presenting the Tenth over the same weekend (Oct. 11-14). And that’s just scratching the surface. Continue reading “Shostakovich Is Having a Moment and This Conductor Is On It”
The Gershwins’ Porgy and Bess is returning to the Metropolitan Opera for the first time in 34 years, with the soprano Angel Blue and the bass-baritone Eric Owens in the title roles. In a bit of luxury casting, they’ll be joined by Ryan Speedo Green, Latonia Moore and Denyce Graves, among several other noted singers. A handsome production by James Robinson arrives on September 24 after a well-received run at English National Opera. Continue reading “Angel Blue Preps for Porgy and Bess at The Met”
Can method acting enhance an opera performance? Should an opera singer look like the character they are portraying, down to their body weight and hairstyle? These questions came up recently in a conversation with John Moore, the baritone who is starring as Apple co-founder Steve Jobs in the Seattle Opera production of The Revolution of Steve Jobs (February 23 – March 9). Continue reading “Method Acting, Steve Jobs, and Opera”
A visit to the Mozart Residence in Salzburg, Austria one early spring day found a surprising number of young visitors in their teens and twenties, representing various nationalities and many seemingly absorbed in the composer’s personal story. Continue reading “Mozart Looms Large in Salzburg (Modest Stature Aside)”
On a blustery afternoon in early December, Philip Glass climbed the massive staircase that leads up to the Juilliard School lobby, and barely winded, sat down for a long conversation about this music, life and career. Our talk, which formed the basis of a cover story for the February issue of BBC Music Magazine, veered from topic to topic, and one was struck by his candor on matters like the business side of his career. Continue reading “Philip Glass on Piano Music, Memories and Motorcycles”