JoAnn Falletta, Jeremy Denk
- Falletta, Denk Among Inductees to Arts and Sciences Academy
- Endlessly beautiful music from pianist Inon Barnatan, accompanied by the BSO
The Washington Post
- In 'Trump Card,' Mike Daisey explains unlikely, undeniable pull of The Donald
Jeremy Denk, The Saint Paul Chamber Orchestra
- Review: The Joys of a Conductorless Chamber Performance
The New York Times
- Review: Under baton of Wolff, ASO takes grand and hopeful journey on the “American sound”
- Llyr Williams at Wigmore Hall – Beethoven Piano Sonata Cycle (6) – The Opus 10 Sonatas and Diabelli Variations
- Young American musicians Benjamin Beilman & Andrew Tyson in recital at Llewellyn Hall
The Canberra Times
- Benjamin Beilman and Andrew Tyson make a dynamic duo for Musica Viva
The Daily Telegraph
- Review: Beilman & Tyson (Musica Viva)
DIAVOLO / Architecture in Motion
- Dance review: DIAVOLO goes to work
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.