- Beilman and Tyson's Musica Viva concert an impressive and diverse program
The Sydney Morning Herald
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)
With soloist and on its own, symphony soars
Stefan Jackiw made a powerful and riveting debut with the Wichita Symphony this past weekend, performing Barber's Violin Concerto magically.
Every note he played at Saturday night's performance was clear even at the back of the hall, including some daringly soft ones. His musical alchemy found in Barber's notes a connection with places deep within, where fear and hope contend, fanned by love.
Nowhere was this more powerful than in the andante: Jackiw listened for two minutes to the introduction of the main melody in the oboe and then the strings before he gave voice to his exploration of the lonely depths, culminating in his playing of the same melody.
Beautiful music is supposed to please, to amuse, to gratify. The orchestra, with Andrew Sewell's clear guidance, created the perfect context for the whole experience. This was not just a fine performance for the Wichita Symphony; I have never heard this concerto performed so well before.
The program opened with pizzazz: Rossini's Il Signor Bruschino Overture, a mix of freewheeling fun with speed and precision (perhaps the 1813 version of the action-flick car chase?) and the repeated spectacle of the second violins using their bows like drumsticks. Rossini may have feared that the latter could lead to trouble, for he wrote in his score, "God save their souls."
The evening ended with Dvorak's 1889 Symphony No. 8. Sewell sculpted the sounds with imagination, fluidity and grace. For all its wealth of melodic invention, this piece has seemed longish to me at times in the past. By his attention to detail in the service of captivating the listener, Sewell did not reinforce those impressions.
I think of the pure tone of the trumpet fanfare in the last movement -- or the swelling of a climactic suspension and resolution in the principal trombone. No time for ho-hum here.
This orchestra has always been remarkable, but it only seems to be getting better and better.