Is the horn curved? Straight? From a ram? Goat? Ibex? Oryx? Kudu? And could you really blow down a wall with it?
György Ligeti was one of the greatest composers of the past century, and ‘Requiem’ was one of his most important works. Now the piece is getting its long-overdue New York premiere at Carnegie Hall.
New York was chock full of impressive performances in 2013, but seven of them with Jewish content stood out, including one that technically never happened.
James Levine is not the only major return at the Metropolitan Opera this week. The acclaimed production of Gogol’s ‘The Nose’ also starts a cameo run.
Marc Blitztein’s ‘The Cradle Will Rock’ is often considered a curio of the Depression. But a recent revival showed the once-banned musical to be as powerful as ever.
Beate Sirota Gordon, who enshrined equal rights for women in Japan’s post-World War II constitution and championed Asian arts programs, died at 89.
Looking at Morton Feldman, one hardly would have guessed that this irrepressible, self-described “New York Jew” created some of the most mystical and subtle music ever composed. Yet since his death, in 1987, it has become ever more apparent that his late works are among the most individual, distinctive and influential of the second half of the 20th century — even if recognition and reverence for his achievements are still more widespread in Europe than in the United States.
Say ‘Pierrot,’ and any musician will instantly know you’re talking about Arnold Schoenberg’s Opus 21. Even after 100 years, it retains both its impact and its strangeness.
One reason Eugene Ionesco’s classic play ‘Rhino’ is so rarely shown is because of Zero Mostel’s sensation-causing performance a half-century ago.
Out of curiosity, especially after reading the restless intelligence and enticing spin he recently gave his work on this blog, I went on August 14 to hear young Israeli pianist David Greilsammer make his debut at Lincoln Center’s Mostly Mozart Festival with a late-night, hour-long performance of wide-ranging repertoire.