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Mozart: Piano Concerto in C, K. 246; Haydn: Piano Concerto in D (AnaMaria Vera pianist, Rotterdam Philharmonic Orchestra, Edo de Waart conductor, Philips). Another up-and-coming pianist is Ana-Maria Vera of Washington, D.C. The joyous innocence with which she attacks these lighthearted concertos is at once admirable and touching. So is her sparkling technique and rapport with Maestro De Waart, the Dutchman who is succeeding Seiji Ozawa at the helm of the San Francisco Symphony. Ana-Maria, born in 1965. was eleven when this recording was made...
Brahms: The Four Symphonies (Vienna Philharmonic, Karl Böhm conductor, Deutsche Grammophon; 4 LPs); (Amsterdam Concertgebouw Orchestra, Bernard Haitink conductor. Philips; 4 LPs). Both Böhm and Haitink are generally thought of as orthodox conductors, interested in Brahms' Brahms rather than their Brahms. Yet how different these interpretations are. Böhm almost seems schizoid about these essentially well-adjusted symphonies, as though he could not make up his mind whether the dreamy, expansive Furtwängler or the lean, surging Toscanini were right. No such problems with Haitink. His Brahms bristles with muscle and the knowledge...
Tchaikovsky: Swan Lake (London Symphony Orchestra, Andre Previn conductor, Angel; 3 LPs). Previn herewith completes his cycle of the three great Tchaikovsky full-length ballet scores. As with his The Nutcracker and Sleeping Beauty, he is always conscious of the ingenious nature of the composer's orchestrations, yet never tries to overcome the music's essential dance quality with virtuoso orchestral tricks. A delightful album, and by far the best Swan Lake on the market. William Bender
...Farley had been given one of the seven performances to sing herself. A month and a half ago, Stratas withdrew from the production, complaining about lack of rehearsal time. Farley got the call on the day of a birthday party she was throwing for her year-old daughter Lara (Conductor José Serebrier is her husband). Says Farley: "I couldn't have asked for a better Met debut or a better opera production...
Special Problem. Conductor James Levine and Stage Director John Dexter, the duo currently guiding the Met's artistic fortunes, have come up with a brilliant Lulu. Levine unravels Berg's intricate, absorbing twelve-tone score in an almost chamberistic way, keeping all voices and orchestral strands balanced and clearly audible, yet summoning up a kind of debauched expressionism when that is called...