REVIEWS & ARTICLES

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Bruce Hornsby. Photo by Katharine Boyle Photography
Music Reviews
Victoria L. Dammer

Bruce Hornsby and The Noisemakers at MPAC

It’s uncommon to get an uninterrupted two-hour performance from someone whose bio is as extensive as Hornsby, and his charm and funny sense of humor just enhanced his talent. The audience celebrated with loud applause as soon as he sat at the piano.

To A Garden Luxuriously Verdant at Lincoln Center. Photo by Lawrence Sumulong
Dance
Edward A Kliszus

To a Garden Luxuriously Verdant

Tonight’s Juneteenth Celebration at New York’s Lincoln Center was a reflective, fresh, and vibrant source of inspiration for all participants. This nonpareil venue inspired artistic expression and creativity with its lustrous modernist designs, magnificent facades, soaring columns, and capacious plazas. It was a celebration of elegance, sumptuousness, and breathtaking transcendence.

The Park Avenue Chamber Symphony Presents Between Sea and Sky: Debussy's Painters and Poets. Photo by Matt Dine
Music Reviews
Edward A Kliszus

Park Avenue Chamber Symphony InsideOut Immersive Experience

In 2015, Maestro David Bernard of the Park Avenue Chamber Symphony began his examination into how orchestras might increase their success with the classical music world’s biggest challenge—audience growth.  Bernard pondered the difference between people who are classical music enthusiasts—and those less informed about classical music. Bernard hypothesized that the main difference is the lack of an immersive classical music experience in the lives of those who have yet to discover the beauty and power of music.  At this moment, the concept of Bernard’s now well-known “InsideOut” was born, and in the coming seasons, he incorporated a new kind of immersive strategy into symphonic concerts.  With each successive event, he “tweaked” the model, ultimately developing an approach toward maximizing immersion in classical music concerts.

David Bernard and the Park Avenue Chamber Symphony at Merkin Hall. Photo by Edward Kliszus
Music Reviews
Edward A Kliszus

Park Avenue Chamber Symphony Concerto Artists

This auspicious event was the fruit of an esteemed collaboration between the Kaufman Music Center and the Park Avenue Chamber Symphony. Gifted young artists competed for the opportunity to grace the stage and perform major musical works with a symphony orchestra before a packed house in a remarkable concert space.

Matt Baker. Photo courtesy of Hannah Celeste
Cabaret
Victoria L. Dammer

Australian Jazz Pianist Matt Baker

The incredibly personable Baker, currently living in New York City, was accompanied by an all-star band from the local jazz scene, including Grammy-nominated vocalist Nicole Zuraitis, 3rd generation jazz musician trumpeter and vocalist Benny Benack III, guitarist Max Light, Kevin Hailey on double bass and Curtis Nowosad on the drums.

InsideOut Prokofiev at the DiMenna Center for Classical Music. Photo courtesy of the Park Avenue Chamber Symphony
Music Reviews
Edward A Kliszus

Tales and Transformations

Performed by the Park Avenue Chamber Symphony at today’s two concerts was Sergei Prokofiev’s delightful Peter and the Wolf featuring WQXR evening host and luminary Terrance McKnight. In this symphonic fairy tale for children, Prokofiev introduced storytelling, the instruments of the orchestra, and abstract thinking associated with how sound can represent images and ideas. This delightful, imaginative experience was pedagogically exceptional for engaging cognitive functions related to symbolic representation, conceptualization, and metaphorical thinking. Most importantly, it was engaging and fun.

Thomas Crawford with the American Classical Orchestra at Alice Tully Hall. Photo by Edward Kliszus
Music Reviews
Edward A Kliszus

A Romantic Fantasy

The American Classical Orchestra ascended to the stage before a packed house in Alice Tully Hall at Lincoln Center. Under the baton of conductor Thomas Crawford, the concert began with Gioachino Rossini’s William Tell Overture (1829). Marvelously performed by the ACO, this work resides in the canon of intensely popular music. It was received by the audience akin to the intense adulation witnessed at its performance at the Paris Opéra in 1929.

The Cathedral Choir with (front/center L-R) Nina Stern (recorder), Ara Dinkjian (Oud), Tamer Pinarbasi (kanun) and Glen Velez (percussion) at the Cathedral Chuch of St. John the Divine. Photo from stjohndivine.org
Choral Music
Edward A Kliszus

Venice City of Lights

This was an evening of Venice City of Lights at the Cathedral Church of St. John the Divine. Superlatives hardly describe the quality of the Cathedral Choir in the Rose of the Compass space. The evening offered a transformative musical experience for listeners and performers alike. The beauty and artistry utilized to guide our journey through the historical, artistic and cultural milieu of Venice evoked elation, wonder, and exhilaration. Onlooking participants experienced profound tranquility and introspection, reflection and contemplation, transcendent joy and longing.

Eric McKeever as Michele in Il Tabarro by the On Site Opera. Photo by Bowie Dunwoody
Music Reviews
Edward A Kliszus

The ON SITE OPERA Presents Puccini’s Il Tabarro

Soloists in the ON SITE Opera production of Puccini’s Il Tabarro were consistently marvelous and presented a thrilling performance of a seminal artwork with the support of a splendid chorus, orchestra, and production team. With fine sound, staging, and costumes rendered in a unique maritime setting, we extravagantly experienced the opera’s dramatic and emotional depth characterized through Puccini’s rich, evocative inventions. The performance was a memorable, compelling, and immersive experience.

Ted Sperling conducts MasterVoices production of Gilbert and Sullivan's Iolanthe at Carnegie Hall. Photo by Toby Tenenbaum
Choral Music
Edward A Kliszus

MasterVoices presents Iolanthe

This production of Iolanthe by MasterVoices at Carnegie Hall portrayed the essence of superlative artistry coupled with modern technological tools. Audience members were masterfully delivered full access to every quip, idiom, and reference intended by Gilbert and Sullivan. During the production, laughs, chuckles, cheers, and other affirmations continued. Applause occurred frequently, and the denouement was acknowledged through an extended standing ovation and multiple bows. The soloists, dancer, orchestra, costumes, choreography, and lighting were superb. Sperling’s conducting was masterful, precise, effective, and expressive.

Bruce Hornsby and The Noisemakers at MPAC

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