An hour before I heard Fabien Gabel captain the Houston Symphony through a (long) program ranging from Corigliano’s raw Conjurer Concerto to Ravel’s sumptuous Daphnis and Chloé, I was sunk into my seat listening to pianist Hannah Che, a former writing student of mine, as she steered her own vessel through the waters of Lizst, Beethoven, and Leoš Janáček in a solo recital. Her delicate performance of Janáček’s In the Mists remained with me long after she dropped her fingers from the keys, making it impossible not to listen to Ravel hours later and feel as if I were still peering through the soft haze that settles over water at dusk. Read my review at Bachtrack.
Read my review of Friday night’s concert at Bachtrack.
Two pieces at Houstonia Magazine this week: the first, a review of Houston Grand Opera’s Abduction from the Seraglio in which Ryan Speedo Green stole the show, and the second, an interview with Gabriela Lena Frank about the world premiere of her Conquest Requiem this weekend with the Houston Symphony.
The Houston Symphony went to Italy with the Pines of Rome, a piece that is nothing without the timpani. Read my review at Bachtrack.
But perhaps it was lost for a reason. Read my review at Bachtrack of Houston Symphony’s ambitious revival of Mario Castelnuovo-Tenesco’s Cello Concerto, remarkable for its unearthing at least.
On Thursday at the Houston Symphony, it was a mixed bag. Whether or not concerto soloists use sheet music in performance is up for debate, but it always just gives me the impression that they weren’t ready. Read my review at Bachtrack.
I really can’t express what an inspiration it was to hear Yo-Yo Ma perform. You read about these prodigies, but seeing is believing. Read my review at Bachtrack.
PS: For all those curious audience members, his serene encore was the “Appalachia Waltz” by Mark O’Connor. If you have chance, check out their collaborative album of the same name.