This Sunday, March 8, it's the Philadelphia Orchestra's St. Petersburg Festival, Week One concert from this past January, conducted by Yannick Nezet-Seguin. And it features no fewer than three 40/40 works: “Winter,” from A. Glazunov’s The Seasons, and two of five movements from Tchaikovsky’s The Nutcracker, all coming in the first half of the program. After intermission, you'll hear a work the Orchestra will take on its European tour, Tchaikovsky’s spectacular Symphony No. 5.
The Philadelphia Orchestra is hardly settling into a routine in its fourth season with Yannick Nezet-Seguin. Plans for 2015-2016 announced this week have the conductor going well beyond typical classical subscription concerts, plus engineering guest appearances that are bound to make national news. The Philadelphia Inquirer's David Patrick Stearns reports.
While printed programs at classical music concerts are commonplace, The Philadelphia Orchestra continues to explore the use of mobile technology developed by Drexel University to inform the listening experience during the performance. As WRTI’s Susan Lewis reports, the LiveNote App will be used in three upcoming concerts.
Join us to hear Yannick Nezet-Seguin conduct The Philadelphia Orchestra in a concert from October, 2014 at Verizon Hall. You'll hear works by two Russian masters - Alexander Glazunov and Sergei Rachmaninoff - composed within a few years of one another at the end of the 19th century: the energetic and lilting final movement of Glazunov’s ballet The Seasons, and Rachmaninoff’s First Symphony, the premiere of which Glazunov conducted (and not so well, by various accounts).
The third broadcast season of The Philadelphia Orchestra in Concert on WRTI, with host Gregg Whiteside, has begun! Get set for more than 30 recorded concerts from the Philadelphians' current subscription concert season on WRTI every Sunday at 1 pm, and finishing up in mid-June, 2015.
Richard Strauss’ Alpine Symphony is, on one level, a musical description of nature. But as WRTI’s Susan Lewis reports, the accessible music belies a greater meaning.
Based on a boyhood experience getting caught in a storm hiking in the Alps, the idea for An Alpine Symphony germinated for years in Strauss’s mind. It wasn’t until after Gustav Mahler died, that he determined to finish the work, which he regarded as a tribute to his fellow composer.
This Sunday at 1 pm, it’s the fast-paced, one-act opera Salome, among the most important musical works of the 20th century, standing out for its revolutionary use of a large-scale orchestra and virtuosic singers, as much as for its graphic depiction of this deeply psychological tale, performed in a historic, joint production by The Philadelphia Orchestra and Opera Philadelphia. It was the Orchestra’s last concert this past May, just before they departed on their China Tour.
Oscar Wilde’s late 19th-century play, retelling the biblical story of Salome, became the basis for Richard Strauss' one-act opera SALOME that premiered in Dresden in 1905. As WRTI’s Susan Lewis reports, the opera continues to shock and dazzle, nearly a century later.
WRTI re-broadcasts The Philadelphia Orchestra and Opera Philadelphia in a joint production of Salome, with Camilla Nylund in the title role, on Sunday, November 2 at 1 pm.
Soprano Camilla Nylund talks with WRTI' s Susan Lewis about the character Salome, which has become one of her signature roles.
This Sunday at 1 pm, from a Philadelphia Orchestra concert this past May at Verizon Hall, Yannick is on the podium to conduct Barber’s Adagio for Strings, an ethereal meditation that has emerged as an iconic piece of 20th-century American music; Bartok’s First Violin Concerto, played by Lisa Batiashvili, one of the world’s most sought-after violinists; and the concert will conclude with that imposing orchestral cathedral of sound known as Bruckner’s Symphony No.