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DC-based Conductor Angel Gil-Ordóñez Brings Classical Music to 40th Annual Havana...

When patrons of the 40th annual Havana Film Festival in Cuba enter the city’s Cine la Rampa on December 8, they’ll be treated to...

‘A Night at the Gaming Tables’ at The Russian Chamber Art...

Love and money: when fated to compete, can the fight ever be fair? Or is it—and are the parties caught between them—invariably, if not...

Review: ‘The Barber of Seville’ at the Kennedy Center

The current production of the Washington National Opera –Gioachino Rossini’s The Barber of Seville plays like a frenetically captivating musical dreamscape of schemers, clowns,...

Review: LiveConnections Presents Fifth House Ensemble + Jason Vieaux at World...

LiveConnections Presents kicked off its new season in rousing fashion with an evening of music from the Chicago-based Fifth House Ensemble and classical guitarist...

Report: Violinist Tessa Lark in the Phillips Collection’s Sunday Music Concert...

Nothing is quite as draining as endless discussions in the classical music world about how concerts “should” work to recapture their prominence in the...

Review: Hilary Hahn Plays Bernstein with The Philadelphia Orchestra

The Leonard Bernstein Centenary continues with concerts by Yannick Nézet-Séguin and The Philadelphia Orchestra. Last weekend’s performances featured one of Bernstein’s most interesting (and...

Review: ‘The Sea Cadet’ and ‘A Trip to Africa’ at Concert...

Concert Operetta Theater moved into new artistic territory with its November production of two unfamiliar operettas. Daniel Pantano’s Philadelphia company teamed up with a...

Interview: Violinist Tessa Lark Discusses Her Career and Her Upcoming Performance...

Don’t just call Tessa Lark a crossover artist. The fast-rising classical violinist may also be known for playing at jazz clubs in New York...

Review: The Philadelphia Orchestra Gives a Haydn Masterpiece a Local Premiere

The programming of music by Haydn is unusual for The Philadelphia Orchestra. The choice is even more surprising coming from conductor Yannick Nézet-Séguin, who...

Interview: David Rohde Interviews Mezzo-Soprano Isabel Leonard

When Washington National Opera presents one of opera’s top examples of musical comedy next spring, it’s only fitting that the production will star a...

Review: ‘From the Diary of Sally Hemings’ at Unison Media

The New York premiere of William Bolcom’s composition, From the Diary of Sally Hemings, could not be more timely. With so much news focused...

Review: Pinchas Zukerman Performs Bach at The Baltimore Symphony Orchestra

We learned, shortly after 8 p.m., that half the Baltimore Symphony Orchestra was stuck on 495. Traffic unites people with weak social bonds; it...

Review: ‘Pioneers of Avant-Garde Piano’ at The Barnes Foundation

The Barnes Foundation presented an unusual recital of avant-garde music composed by Henry Cowell, John Cage and George Crumb. These three giants of experimentation...

Review: Verdi’s ‘Il Trovatore’ by the Academy of Vocal Arts

Verdi’s Il Trovatore was revived at the Academy of Vocal Arts for the first time in 20 years this week, and it’s a revelation....

Review: Denève Leads French and Russian Music with The Philadelphia Orchestra

The Philadelphia Orchestra concerts on the last weekend of October featured a fascinating match-up of old versus new, and conservative versus radical. It also...

Review: ‘Norma’ at The Metropolitan Opera and Live in HD

The new Metropolitan Opera production of Norma, which opened the company’s season, is the most intimate presentation of Vincenzo Bellini’s classic that I’ve ever...

Review: ‘West Side Story’ staged by The Philadelphia Orchestra

West Side Story has never sounded as good as in last weekend’s performances by Yannick Nézet-Séguin and the Philadelphia Orchestra. It even surpassed Leonard...

Review: National Symphony Orchestra with Guest Conductor Juanjo Mena and Pianist...

It’s not unusual for concertgoers to be greeted by the sounds of orchestra members tuning their instruments, so commencing Thursday night’s concert with Kennedy...

Review: ‘Impressions of Pelléas’ at the Curtis Institute of Music

Claude Debussy’s only opera, Pelléas et Mélisande, is a unique masterpiece. But it’s very long: five acts, around four hours. So director and playwright...

A Look Back at Opera Philadelphia’s O17 Festival and ‘The Magic...

When Opera Philadelphia’s O17 Festival was announced in October of 2015, the company headlined its importation of the Berlin’s Komische Oper (Comic Opera) production...

REMEMBERING JOEL MARKOWITZ