Recent News
12.12.18
Keith Lockhart
KEITH LOCKHART JOINS THE ROSTER
12.10.18
Vienna Boys Choir
Classical Album of the Week: Vienna Boys Choir Sings Strauss
WRTI
12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn
2019 Grammy Nominees
Grammy Awards
12.07.18
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
12.06.18
Julian Wachner
This Is the Best ‘Messiah’ in New York
The New York Times
12.04.18
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone
12.03.18
Chanticleer
Chanticleer Christmas concert, 11/30/18
Divamensch
12.01.18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
11.27.18
Richard Kaufman
PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World
11.26.18
Twyla Tharp Dance
Dreaming of Dancing With Twyla Tharp
Next Avenue

News archive »

Russian National Orchestra wows Kravis Center crowd

03.08.16
Stefan Jackiw, Russian National Orchestra
Palm Beach Daily News

In music, the Russian revolution happened in the 1860s, when a group of five composers joined forces in search for a national style that would rival the Germanic model then in vogue. In addition to renouncing motivic development as a main structural element and substituting it with a virtuosic approach to orchestration, the so-called Mighty Five favored exotic storylines as background for their compositions. Those colorful and structurally simple works continue to be favored by audiences, as seen at the Kravis Center during Monday’s Russian National Orchestra concert. 

The orchestra was joined by violinist Stefan Jackiw in a stellar rendition of Sergei Prokofiev’s Violin Concerto No. 2 in G Minor, Op. 63. The composer’s last European commission before his permanent return to the Soviet Union, the concerto features less of the trademark sarcasm, while nodding to classical structures of the past. It is not a coloristic charmer but rather an introspective work, with dark moments interpolated with virtuosic displays by the soloist.

Jackiw and Karabits were formidable partners, delivering a memorable reading. The soloist displayed not only a potent sound (helped here by the masterful orchestration), but an ability to phrase even unconventional phrases with utmost taste.

The second part of the program was devoted to a single work, Igor Stravinsky’s The Firebird. An early ballet score, still deeply influenced by the Mighty Five’s love for folk tales and colorful orchestration, the work was performed in the composer’s revision of 1945 (it was originally written in 1910).

Read the rest of the review here