Recent News
02.15.17
Calidore String Quartet
Calidore String Quartet to Receive Lincoln Center Emerging Artists Award
Lincoln Center News
02.13.17
James Conlon, Giancarlo Guerrero, Ludovic Morlot, Yo-Yo Ma, Silk Road Ensemble , Nashville Symphony , Patricia Racette, Ian Bostridge, Lucas Meachem
Congratulations to our 2017 Grammy Award Winners
Grammy Awards
02.10.17
Nikolai Lugansky, St. Petersburg Philharmonic
Sell-out performance was in the hands of a maestro
Ilkley Gazette
02.09.17
Avi Avital
Meet Avi Avital, Israeli Mandolin Virtuoso
Wall St. Journal
02.08.17
Nikolai Lugansky, St. Petersburg Philharmonic
St Petersburg Philharmonic brings Russian luxury to Dublin
The Irish Times
02.07.17
Asher Fisch
Carmen: Bizet's Famous Femme Fatale
WQXR
02.04.17
Sarah Chang
Star violinist Chang keeps her flair fresh
The Blade
02.03.17
Johannes Moser
Atlanta Symphony uses Groundhog Day for Schumann’s hopeful “Spring Symphony”
Arts ATL
02.03.17
Johannes Moser
ASO review: Guest cellist gives spellbinding performance
My AJC
02.02.17
Shaolin Warriors
Shaolin Warriors Tour Starts Tomorrow

News archive »

Orpheus Chamber Orchestra

10.20.07
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.