Review: Dessay dazzles in L.A. Philharmonic Baroque program. Orange County Register. April 12, 2015.
L.A. Philharmonic / Haim, Dessay / OCR review
4 comments
Comments RSS and TrackBack URI
Leave a Reply Cancel reply
This site uses Akismet to reduce spam. Learn how your comment data is processed.
Support Classical Life
Recent Comments
- MarK on Review: Grazinyte-Tyla, Kopatchinskaja, LA Phil
- Lisa Rachel Hirsch on Review: Grazinyte-Tyla, Kopatchinskaja, LA Phil
- Paul Bodine on Review: Grazinyte-Tyla, Kopatchinskaja, LA Phil
- Paul Bodine on Four books on conductors
- Paul Bodine on Four books on conductors
Blogroll
- Alex Ross: The Rest is Noise
- All is Yar
- Arts & Culture / Voice of OC
- Arts & Letters Daily
- Arts: New York Times
- ArtsJournal: Music
- Classical Voice North America
- Clef Notes
- Composers Doing Normal Shit
- Deceptive Cadence
- Emphasis Dance
- Iron Tongue of Midnight
- Kenneth Woods — A View from the Podium
- Montonous Forest
- Night After Night
- On An Overgrown Path
- Opera Chic
- Opera News
- Out West Arts
- Pacific Symphony blog
- Parterre Box
- Please Enjoy!
- Robert D. Thomas/Class Act
- San Francisco Classical Voice
- Slipped Disc
- Sounds and Fury
- The Misread City
-
Recent Posts
- Review: Grazinyte-Tyla, Kopatchinskaja, LA Phil
- Review: Third Coast Percussion
- Video: ‘Torched and Wrecked’ by David Skidmore
- Pacific Chorale to perform the music of women composers
- A moment of John Adams
- Four scores
- Four books on conductors
- Review: André Previn, Tom Stoppard and ‘Star Trek’
- For André Previn, 1929-2019
- Review: Pacific Symphony’s ‘Madama Butterfly’
Archives
- April 2019 (3)
- March 2019 (5)
- February 2019 (4)
- January 2019 (7)
- December 2018 (4)
- November 2018 (4)
- October 2018 (6)
- September 2018 (9)
- August 2018 (3)
- July 2018 (7)
- June 2018 (3)
- May 2018 (4)
- April 2018 (3)
- March 2018 (4)
- February 2018 (5)
- January 2018 (3)
- December 2017 (5)
- November 2017 (7)
- October 2017 (9)
- September 2017 (10)
- August 2017 (6)
- July 2017 (7)
- June 2017 (12)
- May 2017 (8)
- April 2017 (7)
- March 2017 (11)
- February 2017 (7)
- January 2017 (19)
- December 2016 (11)
- November 2016 (9)
- October 2016 (8)
- September 2016 (14)
- August 2016 (10)
- July 2016 (12)
- June 2016 (15)
- May 2016 (18)
- April 2016 (19)
- March 2016 (19)
- February 2016 (20)
- January 2016 (16)
- December 2015 (15)
- November 2015 (17)
- October 2015 (27)
- September 2015 (18)
- August 2015 (10)
- July 2015 (14)
- June 2015 (14)
- May 2015 (16)
- April 2015 (17)
- March 2015 (17)
- February 2015 (17)
- January 2015 (17)
- December 2014 (19)
- November 2014 (21)
- October 2014 (13)
- September 2014 (14)
- August 2014 (11)
- July 2014 (11)
- June 2014 (12)
- May 2014 (16)
- April 2014 (14)
- March 2014 (12)
- February 2014 (14)
- January 2014 (17)
- December 2013 (13)
- November 2013 (19)
- October 2013 (15)
- September 2013 (20)
- August 2013 (11)
- July 2013 (20)
- June 2013 (15)
- May 2013 (17)
- April 2013 (15)
- March 2013 (17)
- February 2013 (13)
- January 2013 (15)
- December 2012 (8)
- November 2012 (14)
- October 2012 (12)
- September 2012 (11)
- August 2012 (8)
- July 2012 (16)
- June 2012 (9)
- May 2012 (12)
- April 2012 (15)
- March 2012 (11)
- February 2012 (16)
- January 2012 (13)
- December 2011 (10)
- November 2011 (15)
- October 2011 (16)
- September 2011 (14)
- August 2011 (11)
- July 2011 (12)
- June 2011 (15)
- May 2011 (13)
- April 2011 (20)
- March 2011 (13)
- February 2011 (16)
- January 2011 (10)
- December 2010 (16)
- November 2010 (12)
- October 2010 (16)
- September 2010 (14)
- August 2010 (19)
- July 2010 (13)
- February 2010 (1)
- March 2009 (1)
- November 2008 (2)
- March 2006 (1)
Classical Life
As always, a very fine review. Two clarifications: 1) Emmanuelle Haim was not “on the podium” because there was no podium on stage for that program; 2) in 2015, when the orchestra of LA Phil quality sees pre-Mozart music on their stands and two harpsichords with a very conspicuous theorbo on stage, string players don’t need to be “asked to play without vibrato” – they do that naturally.
Noted.
Dudamel’s LA days are numbered? The Financial Times says (May 13) that speculation on Simon Rattle’s replacement among Berlin zeitungen involves 3 names: Christian Thielemann, Andris Nelsons, and Gustavo Dudamel …
First: the big decision in Berlin will not be made by “zeitungen” but, fortunately for music, by the Philharmonikers themselves. Second: our days in this life are numbered too. As for Gustavo’s with the LA Phil, a simple calculation shows that there are at the very least about 2670 of them still left on his current contract.