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By Paul E. Robinson on April 4, 2015
Very few recordings I’ve heard in recent months have given me as much pleasure as this one. While Dvořák is one of my favourite composers, the Violin Concerto has always seemed to me more impressive on paper (score) than in live performance or on a recording...
(Continue reading)By Paul E. Robinson on March 28, 2015
Canadian pianist Angela Hewitt has played so much Bach and played it so well she has become known as one of the great Bach players of her time. In fact, her Bach reputation is so great that it is often assumed that she plays little else. Nothing could be further from the truth and this new CD provides conclusive evidence...
(Continue reading)By Paul E. Robinson on March 19, 2015
These performances were recorded live during the Pull Out All the Stops Festival launching the refurbished Royal Festival Hall organ, fully operational again for the first time since 2005. The organ sounds terrific and the performances are first-rate...
(Continue reading)By Robin Elliott on March 17, 2015
The Los-Angeles-based Canadian trumpet virtuoso Jens Lindemann gave a varied and highly entertaining recital for the Women’s Musical Club of Toronto on Thursday afternoon (March 12th). The ten selections on his program ranged widely across both classical and jazz idioms. And that’s where history was made – this was the first time in 117 years that jazz has been featured on a WMCT program...
(Continue reading)By Paul E. Robinson on March 14, 2015
Elgar is practically part of the DNA of a certain group of Canadian classical music lovers; it goes with their Anglo-Saxon heritage and recognition of the Queen of England as their sovereign. For many classical music lovers in the United States and beyond, it is a different matter. Elgar’s music, while regularly programmed by British orchestras, was never widely performed or appreciated in the USA or Europe in the past and that is still the case today...
(Continue reading)By Paul E. Robinson on March 6, 2015
On the day that I played this new DVD celebrating the opening of the new Mariinsky Theatre in St. Petersburg, world news networks were reporting that prominent Russian opposition leader Boris Nemtsov had been murdered on the street near the Kremlin in Moscow. Yet another example of the ruthlessness of the Putin regime? Perhaps...
(Continue reading)By Paul E. Robinson on March 2, 2015
German baritone Christian Gerhaher recently performed in Toronto and those who heard him won’t have to be told what a fine artist he is. This new recording provides even more evidence, as if it were needed, of the beauty of his voice and the keen intelligence with which he uses it. This is somewhat esoteric repertoire, but the collaboration between Gerhaher and conductor Daniel Harding is consistently compelling...
(Continue reading)By Paul E. Robinson on February 12, 2015
Tchaikovsky wrote ten operas, but only two of them, Eugen Onegin and Pique Dame, are performed with any regularity in opera houses outside Russia. His last opera, Iolanta, composed just before the Pathétique symphony, has recently received a good deal of attention, thanks to Anna Netrebko’s interest in it. In addition to being the subject of this new recording starring Netrebko, the opera is currently in production at the Met and will be screened Feb. 14 (encore/Feb. 18) as part of the Met’s Live in HD movie theatre series. Finally, tenor Sergey Skorokhodov will appear in a Dallas Opera production of Iolanta conducted by Emmanuel Villaume (April 10-18)...
(Continue reading)By Paul E. Robinson on January 29, 2015
Ukraine has often been in the news lately, and for all the wrong reasons. It is not easy sharing a border with Russia, especially after gaining its independence from the Soviet Union in 1991. Russia under Vladimir Putin resents Ukraine’s aspirations to move closer to the West and has acted militarily to crush them. First it was Crimea and now it is eastern Ukraine. NATO has been acting to support Ukraine but whether its efforts will be enough remains to be seen...
(Continue reading)By Jay Caron on January 28, 2015
I am always skeptical of what I would call “fusion” composition; I would briefly describe this as taking the harmonic language, rhythms, or instruments of some non-western culture, or the elements of a popular music genre, and unceremoniously shoving them into the context of western art music. This could perhaps be analogized as mixing water and oil; things that are, on their own, valuable, but which resist amalgamation. The result can often leave me wondering whether greater care could have been taken to present each separate element in its best light. It is a technique dangerously prone to superficiality...
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