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JoAnn Falletta, Mason Bates - Congratulations to our 2019 Grammy Award Winners
Grammy.com - 02.07.19
Vienna Boys Choir - Vienna Boys Choir Winter Tour Starts February 17
Kathryn King Media - 02.06.19
Jeremy Denk - Five Days, Three Pianists, Three Generations
The New York Times - 02.05.19
Jennifer Koh - Classical Music Concerts Part 2: Orchestras Primed for Adventure
Boston Concert Reviews - 02.03.19
Jeremy Denk - Home listening: new releases from Jeremy Denk and Maximilian Hornung
The Guardian - 02.01.19
JoAnn Falletta - RESPIGHI, O.: Roman Trilogy - Feste romane / Fontane di Roma / Pini di Roma (Buffalo Philharmonic, Falletta)
Naxos Records - 02.01.19
JAZZ IN THE KEY OF ELLISON - Ralph Ellison’s Record Collection
The New Yorker - 02.01.19
Brooklyn Rider - Common Theme
Strings - 01.31.19
Jeremy Denk - Jeremy Denk's New Album, "c.1300–c.2000," Due February 8 on Nonesuch Records
NPR - 01.29.19
Calidore String Quartet - What repertoire should you play for your first recording?
The Strad
ARTIST NEWS

Review: Powerful Mahler, virtuosic Tchaikovsky enliven an Aspen Must Fest weekend
08.07.18
The Aspen Times
Michelle De Young wasn't even supposed to be on the stage of the Benedict Music Tent on Sunday. Called in because the scheduled mezzo-soprano, Jamie Barton, could not shake a case of laryngitis, there stood De Young before a rapt audience, the outsized Aspen Festival Orchestra whipping up a Mahler storm behind her.
As De Young reached the final stanza of "Abschied" ("Farewell"), the final pages of "Das Lied von der Erde," her rich tone and serene presence cast a magical balm over the fadeout of "Ewig…ewig" ("always…always") against soft, incandescent chords from the orchestra. If you couldn't avoid choking back tears, you weren't alone.
Conductor Patrick Summers, no stranger to matching orchestras to the great singers of the world, brought it all together in this final song of Mahler's hour-long work, written between his eight and ninth symphonies. De Young and tenor Richard Smagur alternated the six songs.
Summers didn't hold back the orchestra for the tenor's songs about debauchery and drunkenness, but the full, rambunctious orchestrations often overwhelmed his hearty tenor. The mezzo's role, to change the tone to something dreamier, let De Young come through with ease and clarity. Overall, the result yielded tremendous excitement.
Read the full review.