| Date and venue | Title |
|---|---|
| 22-May-2013 La Maison Symphonique de Montréal | Mahler's Fifth with David Zinman and the Orchestre Symphonique de Montréal |
 The program this evening was quite significantly lopsided – though most programs containing Mahler symphonies end up being this way. Tonight’s juxtaposition was quite profound, perhaps even more than usual. Mozart’s Piano Concerto no. 18 in B flat major was poised like a pebble next to a mountain. It was a polished pebble, but minuscule in comparison nonetheless.
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| 16-Apr-2013 La Maison Symphonique de Montréal | The Orchestre Symphonique de Montréal in Rossini, Beethoven and Bruckner |
 Tonight’s OSM concert began introspectively, deep down in the baritone register of Brian Manker’s cello, accompanied warmly by his section and the contrabasses. Rossini’s overture to William Tell is both immediately recognizable and perilously difficult – virtually every section of the orchestra is highlighted, and quite often pushed to technical extremes.
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| 20-Mar-2013 La Maison Symphonique de Montréal | Nagano conducts Beethoven and Berg at the Maison Symhonique |
 If you like your Beethoven clean, precise and streamlined, you should go hear Kent Nagano and the Montreal Symphony Orchestra perform the First and Seventh Symphonies, along with the Berg Violin Concerto and Beethoven’s Wellington’s Victory at the Maison Symphonique. If, however, you prefer your Beethoven heavy with the weight of history, laden with the difficulty of being human, you may as well stay home with your old Furtwängler LPs, because you won’t hear that Beethoven with Nagano at the podium.
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| 14-Mar-2013 La Maison Symphonique de Montréal | The human Requiem of Brahms with the Orchestre Symphonique de Montréal |
 Carl Dahlhaus called Brahms’ Ein Deutsches Requiem “one of those works in which the 19th century recognized its own identity”. This weighty statement was not only inspired by the great success the work found at its première, but also by the stylistic nature of the music and choice of text. Brahms was always stretching one ear backwards into the domain of the ancients, so to speak, and the other ever forward towards innovation.Read full review... | |
