Philadelphia Orchestra principal bassoonist Daniel Matsukawa was featured in a chamber music program presented by the Philadelphia Chamber Music Society and the Musical Fund Society of Philadelphia
The beauty on stage dressed every kind of part and made it possible to learn about the different styles of opera singing and acting.
Performance in Sketch: BLACKOUTS: Twilight of Idols (Dickie Beau at the Crossing The Line Festival with Abrons Arts Center)
This US premiere of BLACKOUTS: Twilight of Idols brings together an audience on stage to witness the underbelly of The Crossing The Line Festival.
Renée Fleming has been at the forefront of classical music for three decades.
This bountiful menu of music had something for every taste
A worthy anchor of Opera Philadelphia’s inaugural O17 Festival.
CLOSE MUSIC FOR BODIES is sensual choral performance. Sixty-five of us follow the directions of the performers and position, and re-position, ourselves around the big, open space at the Christ Church…
Opera Philadelphia challenges our preconceptions of opera with its O17 Festival
Anyone who has sung around a campfire can attest to the power of music to elicit feelings of closeness
Relevant themes and ideas rarely seen on an opera stage
Opera Philadelphia’s innovative general director previews the upcoming O17 Festival.
Jarran Muse talks to Phindie about preparing for his role as Marvin Gaye.
Philadelphia Chamber Music Society imported a deep bench of talent from New York for its final Sunday afternoon recital of the season.
Pianist Inon Barnatan stepped in for an ailing colleague, offering an exquisite and inventive recital that explored musical variations.
2015 Kimmel Center Theater Resident alumnus Daniel Alexander Jones’s fierce alter ego Jomama Jones will make her Kimmel Center debut in BLACK LIGHT
Opera Philadelphia’s new co-production of Mozart’s MARRIAGE OF FIGARO is fast, lively and a wonderful way to be introduced to opera.
Curtis Opera Theatre fails to make the case for LA RONDINE as a neglected classic.
So what does this genius look like?
The stillness in the endings for both Bartok’s BLUEBEARD’S CASTLE and John Adam’s DOCTOR ATOMIC at The Kimmel Center this past weekend left me with a clear image for, “all’s fair in love and war.”