Wed, 07/28/2021 - 10:40pm meganj
On Saturday, July 31, at 7:30 p.m., the 41st annual Salisbury Summer Performance Series will host a chamber concert by the faculty ensemble of the Point Counterpoint Music Camp under Music Directors Rita Porfiri and Anton Miller. The professionals staffing the camp’s third summer session have enjoyed international careers with performances ranging from Leipzig and Sarajevo to Buenos Aires and Beijing. Their U.S venues have included the Houston Symphony, New York City Opera, Carnegie Hall, the Los Angeles Philharmonic, the Boston Symphony, and NPR’s “Performance Today.” They will perform “Grasshopper Polka” by Elena Ruehr; Dorothy Rudd Moore’s Piano Trio; Daniel Roumain “Klap Ur Kandz;” the Molto Adagio from Beethoven’s Quartet Op. 55, No. 2; and Paul Juon’s “Moderato” from the Piano Sextet Op. 22.
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8 am ET: Wigmore Hall presents Jonathan Plowright. The British pianist opens this concert with Busoni’s arrangement of Bach’s D minor
Chaconne which was performed by Busoni himself at the opening of the Hall almost 120 years ago. This is followed by the six pieces that make up Liszt’s
Consolations S172. The concert closes with Grieg’s
Holberg Suite Op. 40, originally written for piano before Grieg adapted it for string orchestra. Register, view here and on demand for 30 days. LIVE
1 pm ET: Wiener Staatsoper presents
Cavalleria Rusticana & Pagliacci. Conductor: Marco Armiliato, director: Jean-Pierre Ponnelle. With Eva-Maria Westbroek, Brian Jagde, Ambrogio Maestri, Zoryana Kushpler, and Isabel Signoret; Roberto Alagna, Aleksandra Kurzak, Ambrogio Maestri, Andrea Giovannini, and Sergey Kaydalov. Production from November 2020. Register for free and view here.
Conductor David Hoose turns toward the next movement
By Jeremy Eichler Globe Staff,Updated February 18, 2021, 9:00 a.m.
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David Hoose believes that, on its face, choral music can be difficult to love.
Itâs an unexpected sentiment from the conductor of Cantata Singers, one of the cityâs most treasured ensembles, but Hoose has his reasons: The sound of a chorus doesnât have as much coloristic glamour or layered complexity as the sound of an orchestra; at a choral concert, there is nothing to watch â no bows dancing in unison or percussion vividly struck; there are none of the dramatic plots or the costumes found in opera; and in many choral works, you canât even understand the words well enough to appreciate the subtlety of their relationship to the music.