Beethoven’s Piano Trio No. 5 is often called the “Ghost Trio” due to the spectral atmosphere of the second movement. His Oboe Trio, along with Mendelssohn’s String Quartet No. 2, are both early testaments to the precocious composers’ mastery of chamber ensemble writing. Published amid speculation of a rivalry with Debussy, Ravel’s work sets the poetry of Stéphane Mallarmé to a concise yet deeply ethereal score.
Crippling self-doubt and scars from scathing reviews almost silenced Rachmaninov as a composer, but he fought his way back to create his rapturous Second Symphony, a work saturated with heart-wrenching beauty. In her new concerto, composer Angelique Poteat envisions a timely musical discourse in which the cello “strives to promote art, expression and free will in an orchestral swarm of oppression, close-mindedness and uncertainty.”
With howling harmonies, gut-punching rhythms and a prehistoric plot that builds to the pagan sacrifice of a virgin dancing herself to death, it’s no wonder that Stravinsky’s The Rite of Spring set off a riot at its first performance. Thomas Dausgaard, leading an oversized orchestra, lets loose all the physicality and wild abandon embedded in this earthshaking ballet.
“[Amanda Forsythe] and Jaroussky spar vividly as he leads her out of the Underworld ...” (Gramophone).
Dive into the mythical world of Orfeo, the legendary musician who journeyed into the underworld to bring his beloved wife Euridice back to life. Rockstar countertenor Philippe Jaroussky assumes the role of the mythic Orfeo, guiding us through three major operatic settings of this tale by opera pioneers Monteverdi, Sartorio and Rossi.