Articles tagged with: Duain Wolfe
Review: In the aftermath of a California gunman’s rampage, the Chicago Symphony Orchestra and Chorus delivered heart-stirring performance, resplendent with awe and penitence, delicately threaded with human doubt, and led by the world’s finest living interpreter of this work.
Review: A world premiere by Chicago Symphony violist-composer Max Raimi, who set to music the poetry of a 94-year-old Pulitzer Prize winning poet in the city’s midst, was part of a special showcase honoring the orchestra’s own: The Chicago Symphony Chorus, celebrating its 60th anniversary this season, sang a Schubert magnum opus not heard in Orchestra Hall since 1975.
Review: Brahms’ “German Requiem” is a gentle monument, expressive in equal parts of humility, reassurance and peace. Such were the components of a radiant performance by the Chicago Symphony Orchestra and Chorus, with soprano Christiane Karg and baritone Michael Nagy, conducted by Jaap van Zweden on Nov. 11 at Orchestra Hall.
Review: When Riccardo Muti and the Chicago Symphony Orchestra open their 2016-17 season at Orchestra Hall in September, it’s going to feel very much like picking up where the current season ended, with one of the splendorous symphonies by the 19th-century Austrian composer Anton Bruckner. To have just heard the Ninth is to look forward to next season’s opener, Bruckner’s Seventh Symphony, with electric anticipation.
Preview: The Chicago Symphony Orchestra and Chorus help to observe the 400th anniversary of Shakespeare’s death in April with performances of two major works under the baton of CSO music director Riccard Muti – Berlioz’s dramatic symphony “Roméo et Juliette” and a concert version of Verdi’s last opera, “Falstaff.” The demands the two works place on the chorus, says director Duain Wolfe, could hardly be more different.
Review: It was a sad time for Chicago’s musical community, which had lost two respected musicians within days of each other. By astonishing coincidence the scheduled program, dedicated to their memory, included the Requiem by Mozart, whose own life slipped away from him as he wrote it. A bit of the Lacrymosa is the last passage in Mozart’s own hand.
Review: The cantata Beethoven composed to Friedrich Schiller’s “Ode to Joy” – that is, the grandiose finale to the Ninth Symphony – may be a rousing crowd-pleaser, but it’s also a good deal more. It’s the peroration of a sweeping dialectic on man’s fate, a closely and tumultuously argued essay spun out in wordless majesty for three-quarters of an hour before the first syllable is uttered.Such was the sum and the magnificence of music director Riccardo Muti’s season opening performance of the Ninth Symphony with the Chicago Symphony Orchestra on Sept. 18 at Orchestra Hall.
Review: It’s hardly surprising that anyone familiar with Verdi’s operas would associate his Requiem with that imposing body of music-dramas. The musical language of the one informs the rhetoric of the other. But the difference between Verdi’s stage works and great spiritual drama of the Requiem was the distinguishing feature of conductor Riccardo Muti’s account with the Chicago Symphony Orchestra on Oct. 10, the 200th anniversary of the composer’s birth.
UPDATE: Get your finest audio headphones ready: A video on demand is now available here of the CSO’s first-ever simulcast — Giuseppe Verdi’s Requiem with Riccardo Muti conducting the Chicago Symphony Orchestra and Chorus, soprano Tatiana Serjan, mezzo-soprano Daniela Barcellona, tenor Mario Zeffiri and bass Ildar Abdrazakov.
Review: Tatiana Serjan is a flat-out thrilling soprano who exudes the temperament of a lioness. She is a Lady Macbeth in her early prime. There isn’t a better place to be this week than Chicago’s Orchestra Hall, where the Russian-born Serjan sings in Verdi’s “Macbeth” under ideal conditions — in concert with other emerging opera stars and the superb forces of the Chicago Symphony Orchestra and Chorus under Riccardo Muti. ★★★★★
Review: Riccardo Muti, winding up his third season as music director of the Chicago Symphony Orchestra this weekend, led the orchestra and Chicago Symphony Chorus on a spiritual voyage Thursday night, from luminous Mozart and rapturous Vivaldi to a transcendental peak in Verdi’s glorious “Four Sacred Pieces.” Performances continue through Sunday. ★★★★★