A premiere nearly every week sets Benaroya Hall abuzz with activity.
Glenn Gould got the medium wrong, but eventually got the message right. The ground bass running throughout the career of…
From tragedy, two ensembles contemplate a new future.
A local troupe turns ritual into rock opera.
Rabbit-Proof Fence meets High School Musical. In this film version of a 1990 Australian stage musical—the first, it’s claimed, about…
Gerard Schwarz’s final program as the Seattle Symphony’s music director, next June, will show him and the orchestra at their…
Nanda’s untranslatable acts of surprise.
Since classical musicians already have well over a millennium of accessible repertory to deal with (the term “classical” can plausibly…
Seattle Opera goes from strength to strength with a new female lead and stupendous support.
Gerard Schwarz’s new trio for horn, violin, and piano opens arrestingly with a prologue evoking Jewish musical tradition–the calls of…
Compared to Beethoven and his taut, driving musical dramas, Schubert’s a more discursive composer, more concerned with lyricism than construction,…
UW piano professor Craig Sheppard is always fun to hear, and though it was a shame that scheduled pianist Andrew…
My feeling about “crossover” musical performances is that anyone gets to sing anything they want, as long as they don’t…
How the Seattle Symphonys new head could shake things up.
All singing! All dancing! All seafaring!
How do you solve a problem like Voltaire? The 5th Avenue tries.
Leonard Bernstein wrote a musical with a personality just as split as his own.
A bit of a drag at Taproot.
Vietnam flashbacks, hospital drama, and Greek myth add up to a top-flight Seattle Opera commission.
Yes, it’s perhaps a bit calculated, but I appreciated the programming strategy of Robert Spano, who guest-conducted the Seattle Symphony…
