- Tharaud, CBSO, Volkov, Symphony Hall Birmingham
The Arts Desk
- Review: Garrick Ohlsson's "Smetana"
Bill T. Jones/Arnie Zane Company
- Bill T. Jones to receive Washington University International Humanities Medal
Washington University in St. Louis
Julian Wachner, Trinity Wall Street
- Review: Ginastera and Fauré, With a Nod to Prince
The New York Times
- Symphony Review: The Jacksonville Symphony plays a Night of Viennese Bs
The Florida Times-Union
- Seattle Symphony's "Ives: Symphony No 4" with Ludovic Morlot named to Gramophone's top ten Ives recordings
- Evan Rogister to conduct Wagner's Ring at Gothenburg Opera
- JoAnn Falletta Elected to the American Academy of Arts and Sciences
American Academy of Arts and Sciences
- Size doesn’t matter, in works both massive and delicate at Seattle Symphony
The Seattle Times
- Basso Profundo: How a college football standout became an international opera star
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.