This Sunday at 1 pm on WRTI, it's a performance of Anton Bruckner's Symphony No. 7 by The Philadelphia Orchestra. The work, and the composer, are very close to Yannick's musical heart.
Paired with Wagner's tender Siegfried Idyll, you're in for an orchestral treat, in this rebroadcast of a Verizon Hall concert first heard last January, and broadcast a week after the death of the Orchestra's Conductor Laureate Wolfgang Sawallisch.
Opera Philadelphia launches its new Opera In The City series on November 2nd, presenting unusual opera productions in unconventional spaces. As WRTI’s Jim Cotter reports, the first production treats audiences both as spectators and guests at a Balkan wedding celebration.
The Philadelphia Orchestra is launching a mini festival of new concertos this week. But instead of the typical violin, piano, or cello soloists, the orchestra's principal harp, bassoon, and flute will be out in front, in pieces that, as The Philadelphia Inquirer’s David Patrick Stearns reports, promise to be anything but more of the same.
Opera lives on the Christina Riverfront in Wilmington, Delaware. There, as WRTI’s Susan Lewis reports, audiences experience the power of operatic voices in an intimate setting - uniquely presented by OperaDelaware.
In the midst of World War II, a collaboration between choreographer Martha Graham and composer Aaron Copland gave birth to an enduring American classic. WRTI’s Meridee Duddleston hears Appalachian Spring in a new way.
The spirit of Halloween hovers over Now Is the Time, Sunday, October 27th at 10 pm. Strings, bells, melodicas softly accompany waning desert sunlight: such is Drift of Rainbows by Dan Visconti. William Moylan's setting of the Yeats poem The Stolen Child tells an Erlkönig-like story: "Come away, O human child! / To the waters and the wild / With a faery, hand in hand, / For the world's more full of weeping than you can understand."
Benjamin Broening processes out-takes of recordings over and over until they sound hardly electronic anymore, but more, perhaps, like ghosts, in Traces (ii). Acoustically to Shake the Tree is Robert Carl's business at hand—for piano four-hands—and the fruit from the overtone series brilliantly litters his landscape. And William Bolcom wraps the program with one of his fortes in the Graceful Ghost Rag.