- In Conversation With Stewart Copeland: Famed Drummer Composes New Soundtrack for 'Ben-Hur' (1925)
The Huffington Post
- Ex-Police drummer to perform "Ben Hur" score
- Diving Into the Strange, Retrieving Its Beauty
The New York Times
- Lexington Philharmonic's unconventional two-guest concert dazzled
- Yuja Wang: Managing the piano, conductors and the laundry
Alvin Ailey American Dance Theater
- Paramount audience communes with Alvin Ailey company
The Seattle Times
- Cleveland Orchestra, pianist Yuja Wang conspire on dynamic night of Russian favorites (review)
The Cleveland Plain Dealer
- BWW Reviews: Ailey II Shines in Three World Premieres
- ALISA WEILERSTEIN'S ELGAR/CARTER CELLO CONCERTOS CD IS BBC MUSIC'S "RECORDING OF THE YEAR 2013"
BBC Music Magazine
Sir Andrew Davis
- The Dream of Gerontius, Andrew Davis, BBCSO: 'remarkable'
S.F. Symphony, Shaham wow them in N.Y.
San Francisco Chronicle
New York -- The San Francisco Symphony's visit to Carnegie Hall on Tuesday and Wednesday was distinguished by the appearance of two premier soloists. The first buoyed the Tuesday concert, while the second nearly sank Wednesday's program.
Violinist Gil Shaham was featured in Tuesday's concert; he held the first half with an absolutely electrifying performance of William Schuman's Violin Concerto. Schuman (1910-1992), a lifelong New Yorker, was the first composer to win the Pulitzer Prize. With furious energy and an unflappable sense of delight, Shaham demonstrated why Schuman's Concerto, premiered by Isaac Stern at Carnegie in 1950, is American modernism at its finest.
The violinist took command immediately with a raw, blazing introduction, establishing space not only musically but also physically, hopping from side to side in rhythm with conductor Michael Tilson Thomas' standard choreography. Above all, Shaham is striking for the engaging manner in which he plays, his genuine smile such a welcome contrast to the scowls, furrowed brows and emotive gapes that pass for artistry among soloists. Shaham's fiery, no-nonsense playing and charisma spread throughout the orchestra, which fed on the flames. In his cadenzas, Shaham was nearly a concerto unto himself, with double-stopping that sounded like separate lines of music.