- American conductor Joshua Weilerstein is appointed the new Artistic Director of the Orchestre de Chambre de Lausanne.
- William Fred Scott named fifth music director of the San Francisco based Grammy award winning vocal ensemble Chanticleer
- Denis Kozhukhin makes sharp solo piano debut for Friends of Chamber Music
Miami Herald / South Florida Classical Review
- The Met's Vivid 'Lady Macbeth of Mtsensk' Heralds Sweeping Changes for the Opera World
New York Observer
Daniel Hope, Alisa Weilerstein, Voces8
- Classic FM's Albums of the Year 2014
- Cash emphasizes new songs at Sanders Theater
The Boston Globe
- Wachner, Washington Chorus give powerful performance of ungainly ‘Missa Solemnis’
The Washington Post
- Extraordinary weekend of intrigue and majestic music
The Herald Scotland
- You Seem Sad, Janacek. Cheer Me Up, Schubert: Jeremy Denk Knits a Dialogue in His 92nd Street Y Recital
The New York Times
- 'Carmelites' packs emotional wallop
Orpheus Chamber Orchestra
The Washington Post
Exactly one year ago, when the conductorless Orpheus Chamber Orchestra performed at the Music Center at Strathmore in a program that included two Mozart piano concertos, I wondered here in print whether going it alone in that repertoire was really optimal, given the complexity of the scores and the naturally opposing forces of soloist and orchestra.
Nothing impresses me more than chutzpah, and Thursday night the same forces in the same hall upped the ante considerably, putting on the gargantuan Brahms Piano Concerto in D Minor, this time with Yefim Bronfman riding shotgun. I doubt whether such a thing had been attempted before, anywhere.
Every musician onstage was a consummate professional who relished this unprecedented challenge. The results were impressive -- every Orpheus performance is -- but it was a stunt nonetheless. The head-bobbing required of the concertmaster to commence and maintain the Adagio, for example, made many of us nervous. The brief, intense three-voice canon that precedes the solo entry in the first movement was unbalanced, and there was a distinct sense of the musicians "hanging on to" one another throughout. Even Bronfman was called upon to give cues, and he had his hands full.
The additional tension did not seem to faze him, however; the solo part was spread on a wide, colorful canvas, and the big second-subject solos in the first movement were masterfully built up. Earlier, Orpheus gave sparkling readings of three Brahms Hungarian Dances and Schoenberg's lush Chamber Symphony No. 1.