- Leonidas Kavakos is Gramophone Artist of the Year
- EXCLUSIVE: Classicalite Q&A with Cellist Maya Beiser on 'Uncovering' Floyd, Zeppelin, AC/DC, Nirvana and Howlin' Wolf
- Daniel Hope releases Escape to Paradise: The Hollywood Album
21C Media Group
- Singer-Songwriter Dan Zanes Joins Opus 3 Artists
Christian Van Horn
- Bass Baritone Christian Van Horn -- A Busy Season at San Francisco Opera
- Review: Spano and Stallings break boundaries, hit all the right notes in glo’s breathtaking “cloth”
- Roger Waters’ opera to make U.S. premiere in Nashville
- Stewart Copeland: Life after rock‘n’roll
- All American
Anthony Roth Costanzo
- Counter Programming
CD Review - Mozart: Piano Concertos 21 and 22
The London Times
What Jonathan Biss writes about Mozart in the recording's booklet is so inspired, so just, that I was biased in his favour before hearing a note.
His performance, as soloist and as the director of the excellent Orpheus Chamber Orchestra, in no way disappoints. These are outstanding interpretations, the interplay of soloist and orchestra that of equals in complete sympathy, the contrasting character of the two concertos and the constant changes of mood within each work felt and communicated with delight and impeccable judgment.
Biss's cadenzas, too, are well judged, as is his ornamentation - not imposed on the music, but springing naturally out of it. Interestingly, he hardly decorates the C major's magical andante at all - which, if not "correct", seems to me absolutely right.