Zurich Chamber Orchestra , Daniel Hope
- Daniel Hope becomes Music Director of the Zurich Chamber Orchestra
- Nelson Freire: Schumann elegantly realised by artist of note
- Patti LuPone kicks off Music Worcester season with Broadway pizzazz
The Worcester Telegram
- Liszt: Transcendental Studies; Paganini Studies CD review – delicacy, dazzle and virtuosity
- Bumper Jacksons play College of Saint Rose
- Defying terrorism through music and an exhilarating Jeremy Denk: September's best classical concerts
- Critics pick favorites at upcoming Met Opera season
Herald & Review
- Nashville Symphony Music Director Giancarlo Guerrero Signs Five-Year Contract Extension, Committing to the Orchestra Through 2024-25 Season
- New Century Chamber Orchestra Finds Gold in Their Silver Season Opener
San Francisco Classical Voice
- Daniil Trifonov Is Named Gramophone “Artist of the Year” 2016
Stefan Jackiw: Talent That's Off the Scale
The Washington Post
Listening to the apparently endless parade of expert, teenage violinists passing through our concert halls, you'd be hard-pressed to find one with a more consistently beautiful sound than 19-year-old Stefan Jackiw. His reading of Saint-Saens's Violin Concerto No. 3, with the Baltimore Symphony Orchestra at the Music Center at Strathmore on Thursday, was marked by elegance, a supple, singing line and a liquid tone that never hardened, even in the score's bravura passages.
This was gorgeous playing -- from the spot-on precision in the first movement's stratospheric high notes through the poise and nobility imbuing the swaggering finale. If Jackiw's performance was more laid-back and objective than emotionally invested, his playing provided enough ear candy to satisfy. The BSO proved a suitably suave partner, with conductor Yuri Temirkanov coaxing silken playing from the strings and subtly blended chording from the winds.
The orchestra was more extroverted in Franck's Symphony in D Minor. It's a piece that suits Temirkanov's temperament well -- or, rather, the conductor shaped the score successfully to his will. In Temirkanov's hands, this might have been a lost work by Tchaikovsky or Glazunov, so Russian was the surge of the phrasing, the crush of the climaxes, the cut-and-thrust in the brass playing, the soulfulness in the violins and lower winds. But in this least overtly French of French symphonies, his pulse-quickening, Slavic approach worked to exciting effect.