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newyorkclassicalreview.com
A tree grows in Carnegie as Botstein, ASO revive Straus…
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MasterVoices gets up close and personal with “Carmen” …
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Kurzak provides most of the heat in Met’s simmering “To…
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A brilliant guest soprano sparks Modus Operandi Orc…
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Sphinx Virtuosi color outside the lines at Carnegie Hall
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“Dead Man Walking” powerfully opens Met seaso…
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Twelfth Night and soloists bring youthful spark and a ro…
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Terfel returns to Carnegie, voice, charm and artistry as …
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Kauder symphony proves a compelling rediscovery in Or…
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Filharmonie Brno brings Czech fire and a belated Gla…
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Critic Picks for 2022-23
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Shostakovich’s “Lady Macbeth” a searing experien…
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An ideal Mozart cast lifts a not-ideal staging in Met’s new “…
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“Don Carlo” returns to Met with vocal power, exceptional cast
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Trifonov’s existential Prokofiev with National Symphony tra…
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Honeck and a sterling Met cast bring luminous grace t…
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Sierra captivates as Violetta in Met’s “Traviata”
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“The Hours” builds a moving, spellbinding drama in Met pr…
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Brooklyn Art Song casts a wide and intriguing net with …
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New York Classical Review
New York Classical Review » Blog Archive » DiDonato lea…
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“The Hours” builds a moving, spellbinding drama in Met pr…
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“Fedora” returns to Met after 25 years in a sumptuous, ric…
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Somlai’s dazzling Beethoven lights up American Classica…
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Teatro Real Orchestra brings dazzle and Spanish flair to …
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Hybrid ensemble-band yMusic shows its best side in Carne…
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Davidsen opens season with a solo recital to remember
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In Met debut Blanchard’s “Champion” proves lightweig…
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Despite some fine singing, Met’s problematic “Dutchma…
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Polgár delivers thrilling, fitfully exhausting playing of Liszt, …
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Mumford premiere highlights contemporary program by St…
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Midori delivers solo Bach and the moderns at Zankel Hall
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Back to the future: Third Coast Percussion winningly melds …
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Met’s “Bohème” returns with Nézet-Séguin at the helm
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Welser-Möst recombines Berg and Schubert in Cleveland …
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Uchida’s artistry shines even through stumbles in Beethov…
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