By Guest Critic Donald Rosenberg I hope this doesn’t put us into overtime,” said Marty Merkley, Chautauqua Institution’s vice president and
The first time Grammy Award-winning mezzo-soprano Sasha Cooke sang Poème de l’amour et de la mer, Op. 19, tears ran down her face.
On Thursday evening, Cuban-born pianist Horacio Gutiérrez, along with conductor Rossen Milanov leading the Chautauqua Symphony Orchestra, demonstrated the power of the pianissimo in a sparkling and propulsive rendering of Beethoven’s Piano Concerto No. 4 in G major, Op. 58.
Chautauqua Symphony Orchestra principal clarinetist Eli Eban will speak as part of the final Meet the Musicians Brown Bag sponsored by the Symphony Partners at 12:15 p.m. today in Smith Wilkes Hall.
Pianist Horacio Gutiérrez has performed in Chautauqua four times, but two of those stand out in his mind. His 2008 performance immediately followed a bout of lymphoma. His 2011 performance was the first his wife attended after she was struck by a bus in Miami. Thankfully, Gutiérrez said the circumstances for his return 8:15 p.m. tonight in the Amphitheater are decidedly mundane.
Argentinian composer Osvaldo Golijov has a muse, and it’s five-time Grammy Award-winning soprano Dawn Upshaw.
My favorite moments in music performance are those when, as a member of the audience, I am able to make a connection to something personal — something musical that relates to something extra-musical, extending a memory or experience into the present space. Because I want music to be meaningful, it doesn’t take much — I am looking and listening for the connection.
On Thursday evening, the Chautauqua Symphony Orchestra presented two works that were likely unfamiliar to its audience, followed by Dvořák’s nationalistic Symphony No. 6. The ensemble exhibited enthusiasm for Kodály’s suite from Háry János and Bottesini’s first concerto for double bass, and a masterful command of one of symphonic literature’s giants.
Bassist Owen Lee spends a majority of his time with Dumbo, but he doesn’t worry about him flying away — it’s just the name of his instrument. Although their relationship falls short of friendship, he admitted a certain respect.
We could have been on dangerous ground, the way they looked, always checking with each other, furtively, quick glances, as if fulfilling a special scheme to perform this concerto, itself a bit of a mystery — create it as it hadn’t quite been heard before during its century-long presence.