Recent News
01.13.19
James Conlon
Dull Bruch from Zuk, blazing Bartók from Conlon and New World at Arsht
South Florida Classical Review
01.11.19
Sir Andrew Davis
With conductor Andrew Davis, the BSO considers the big picture
The Boston Globe
01.10.19
Louis Lortie
PIANIST LOUIS LORTIE JOINS THE ROSTER
01.10.19
Alvin Ailey American Dance Theater
ALVIN AILEY AMERICAN DANCE THEATER CELEBRATES GROUNDBREAKING FOUNDER DURING 60TH ANNIVERSARY NORTH AMERICAN TOUR FEBRUARY 1 – MAY 12, 2019
Ailey PressRoom
01.07.19
Teddy Abrams, Inon Barnatan, The Knights
WQXR Presents “19 for 19”: Artists to Watch in the Upcoming Year
WQXR
01.02.19
Ward Stare
Auld acquaintance is not forgotten at the St. Louis Symphony Orchestra's New Year's Eve concert
KDHX
01.01.19
Marin Alsop, Lawrence Foster, Miguel Harth-Bedoya, Mariss Jansons, David Robertson, Donald Runnicles, Patrick Summers, Emmanuel Villaume, Conrad Tao, Andrew von Oeyen, Inon Barnatan, Daniil Trifonov, Blake Pouliot, Isabelle Faust, Edgar Moreau, Yo-Yo Ma, Alisa Weilerstein, Colin Currie Group , Brooklyn Rider , Symphonieorchester des Bayerischen Rundfunks, Munich , Lisette Oropesa, Michelle DeYoung, Anthony Roth Costanzo, Christian Van Horn, Storm Large
Best of 2018
12.17.18
Richard Kaufman
Cleveland Orchestra, Choruses make it feel like Christmas at Severance Hall
Cleveland Plain Dealer
12.17.18
Vienna Boys Choir
Vienna Boys Choir mix it up with a cosmopolitan “Christmas in Vienna”
New York Classical Review
12.14.18
Storm Large
High-energy holidays with Storm Large at the Sun
KDHX

News archive »

DSO's ReMix is a blend of sass and introspection

09.11.15
Karina Canellakis
Dallas Morning News

The Dallas Symphony Orchestra’s ReMix concert Friday night will be hard to beat as the season’s most fun. The DSO has struggled a bit to find an identity for these smaller-scale and more casual concerts in the Dallas City Performance Hall, but this program — imaginative, for sure — fit the space and ambience to the proverbial T.

Contrived and led by the orchestra’s excellent assistant conductor, Karina Canellakis, the program framed two introspective pieces with two sassy and often frenetic ones. The two central pieces were danced by members of Dallas Black Dance Theatre II.

In 13 minutes, flutters, pulsings, rustles, razzings, cascades, glissandos and echo effects gradually coalesce into up-and-down scales and overlapping chantlike melodies. With dancers at sides and in front of the stage, Nycole Ray’s choreography of stretching, writhing and flailing, sometimes paralleled the music, sometimes counterpointed it. In either case, it gave the music a physicality that probably aided audience engagement, and the dancers’ supple athleticism amazed.

The dancing was fluent and beautiful.

Once again, Canellakis proved both authoritative and musically expressive, and she spoke engagingly from the stage. Unnecessarily wide spacing of players in the Hindemith made for some slippage of ensemble in the most frenetic music, but otherwise the performances were committed and accomplished.

The DSO’s program books remain user-unfriendly. Between minuscule print and too-dim light, the audience couldn’t know that the Hindemith had four movements, thus the applause between them. 

Read the rest of the review here