The Barber of Seville is such a beguiling opera, it’s not hard to see why some mistake it for an easy one. But producers approaching Rossini’s bel canto masterpiece do so at their peril.
In a performance by a trimmed-down San Francisco Symphony on Saturday, it was hard not to get caught up in the invigorating presence of conductor Ton Koopman, who coaxed phrases out of his performers like a magician pulling handkerchiefs out of a hat.
Rhythmic vitality ruled Saturday at the Redwood Symphony concert, led by guest conductor Joyce Johnson-Hamilton, in a program designed to warm the hearts of music lovers who prefer the just slightly unusual.
Hélène Grimaud’s new solo disc Resonances comprises the recital program she has been touring this past season. It is a welcome change to find a pianist willing to risk the juxtaposition of Mozart and Berg.
How many performances of the “Jupiter” Symphony does it take to turn on a light bulb above the head of attentive listeners? In the case of the Santa Rosa Symphony, it only takes one.
Paul Bowles, once described as “famous for not being famous,” was an allusive artist of elusive categorization. On Saturday, Nicole Paiement’s Blue Print project began its ninth season, with a intriguing focus on Bowles’ music.
Our very own San Francisco Symphony have come up with an excellent performance of the most famous symphony of them all. This release is worth making some sublime noise about.
Lyric tenor and composer Roland Hayes (1887-1977) may be the most important “Aframerican” (his term) classical singer of the 20th century that you don’t know about.
