A Rainbow-Colorful Take on Prokofiev’s Romeo and Juliet
/LA Phil presents an innovative Romeo and Juliet in collaboration with the LA Dance Project, and features French horn guest star Sarah Willis from the Berlin Philharmonic!
Read MoreConcert and opera reviews from Southern California.
LA Phil presents an innovative Romeo and Juliet in collaboration with the LA Dance Project, and features French horn guest star Sarah Willis from the Berlin Philharmonic!
Read MoreThe celebration of LA Phil’s 100th-anniversary season boldly looked into the future, not the past, with two avant-garde works – “LA Variations” by Esa-Pekka Salonen and “Sustain” by Andrew Norman.
Read MoreBritish guest conductor/humorist Bramwell Tovey is a perennial favorite at LA Phil, not only for his considerable musical acumen, but also for his endless supply of jokes and anecdotes.
Read MoreTuesday night at the Hollywood Bowl featured two powerhouse names in classical music – Itzhak Perlman and Gustavo Dudamel. The music-making, however, was pleasantly low-key and congenial.
Read MoreFor the Sunday performance of Verdi’s “Otello”, the sound engineers clearly flattered the dynamic conducting of Gustavo Dudamel. The results were some incredibly exciting passages…
Read MoreTV actress Sutton Foster and Broadway veteran Brian Stokes Mitchell made a delightful, winsome couple in musical numbers from On the Town (1944) and Wonderful Town (1953).
Read MoreThis month, the LA Phil put Schumann front and center in a comprehensive survey of his works, including an illuminating talk by Dr. Richard Kogan on mental illness and creativity.
Read MoreBernstein’s work is a bold liturgical work for the common men, while Beethoven’s Ninth is a quasi-religious paean of universal brotherhood. Together, they formed a musical bond…
Read MoreSwedish clarinetist Martin Fröst shows his wizardry on the instrument, managing some impressive long-breathed phrases including an impossibly long one, across a wide dynamic range, at the end of the Adagio.
Read MoreDudamel launched the opening ‘Introitus’ in a tempo that was slow but flowing, never ponderous – reminiscent of the classic 1971 Karl Böhm recording
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