- James Conlon Launches Three-Year Cycle of Mozart's Da Ponte Operas at The Festival Dei Due Mondi in Spoleto, Italy
Sebastian Lang-Lessing, Jennifer Koh
- Luxurious goulash; San Antonio Symphony, Sebastian Lang-Lessing, Jennifer Koh
- Cristina Pato on 'Latina,' Yo-Yo Ma & Saving Classical Music
- Bryan Hymel: "Héroïque"
- Béla Fleck's "How to Write A Banjo Concerto" Out Now
- Cristina Pato: "Latina"
World Music Report
Christoph Eschenbach, Leonidas Kavakos
- Kavakos and Eschenbach combine to put on an inspired recital
The Washington Post
Cirque Mechanics Pedal Punk
- An Evening of Wheel Thrills
Flynn Center Blog
- Alexandre Tharaud's sensitivity and depth a formidable combo
Sir Andrew Davis
- Review: RSNO/Davis, Glasgow, Royal Concert Hall
How Theater Failed America (review)
Time Out New York
A portly, blustering performing with a featherweight voice, Daisey is a working man's Spalding Gray: boyish passion meshed with refined contemplation. The most satisfying moments in the show are his recollections of the days when he did theater on the cheap. He reminisces about a summer of rats and ramen noodles when he launched a reperatory company with a college pal at a Maine Elks Lodge; recalls how directing 60 misfit high-school students in a commedia dell'arte performance pulled him out of a suicidal stupor; and revisits the unnerving time he masturbated onstage in Seattle.
In Daisey's rants, the fun comes as much from the presentation as from the point, even when he's mapping familiar territory about overworked directors and underrehearsed plays or describing how he and his director wife, Jean-Michele Gregory, are the "carrion birds of the American theater," because their low-budget solo shows frequently replace more costly productions. One artistic director dubbed Daisey's harangue "How Theater Became America"; appropriately in an important election year, it is not only vastly entertaining, it's also a call to action.