By Nancy Plum

Princeton Symphony Orchestra returned choral music to its repertory this past weekend with a performance of a newly-reimagined edition of Wolfgang Amadeus Mozart’s popular Requiem. Since Mozart’s untimely death in 1791 left the work incomplete, scholars have attempted to second-guess the composer and provide an alternative completion adhering to Mozart’s intent and historical character. Conductor Rossen Milanov and Princeton Symphony Orchestra brought this rendition of Mozart’s immortal masterpiece to Richardson Auditorium this past weekend, with composer Gregory Spears’ addition of three new movements to the mass for the dead. Joining the Orchestra for Saturday night’s performance (the concert was repeated Sunday afternoon) were four vocal soloists and Westminster Symphonic Choir.

Princeton Symphony Orchestra paired the Requiem with a 21st-century work inspired by a string quartet of Mozart contemporary Franz Joseph Haydn. Caroline Shaw’s 2011 Entr’acte for string orchestra incorporated contemporary musical effects into a classically-structured piece, including passages reminiscent of J.S. Bach. Milanov led the Orchestra in a feathery opening to Shaw’s one-movement work, allowing the music to quickly become powerful while maintaining a lean quality. Concertmaster Basia Danilow and principal cellist Alistair MacRae played an intense duet against relentless pizzicati of the other players, and MacRae’s graceful lute-like playing delicately brought Shaw’s unique and appealing work to a close.  more

By Nancy Plum

When choruses choose to perform the oratorios of George Frideric Handel, it is usually the popular Messiah which draws in audiences. However, Handel composed close to 30 oratorios, essentially perfecting the genre when interest in Italian opera waned in 18th-century England. Sung in English, oratorios had great audience appeal, retaining the solo vocal fireworks popular in opera but adding complex choral numbers which served a narrative function and provided commentary on the action.

Handel looked to biblical sources for subject matter to create his familiar oratorios, with works based on the stories of Saul, Samson, and Judas Maccabeus. Lesser known is the 1748 Solomon, which depicts the life of the monarch of ancient Israel in 63 arias, recitatives, and choruses. Handel’s choral/orchestral works are tailor-made for the more than 100-member Princeton Pro Musica, which brought a production of Solomon to Richardson Auditorium this past Sunday afternoon. Led by Pro Musica Artistic Director Ryan J. Brandau and joined by the period orchestra New York Baroque Incorporated and five vocal soloists, Pro Musica presented a spirited performance of Handel’s animated work. more

By Nancy Plum

McCarter Theatre is well into a season of diverse presentations, including the well-respected Classical Music Series. Last week, two renowned specialist Baroque performing ensembles came to Princeton for an evening of Johann Sebastian Bach. The London-based Monteverdi Choir and its companion English Baroque Soloists orchestra took the stage at Richardson Auditorium last Monday night to perform Bach’s 1749 Mass in B Minor, the 18th-century master’s extended setting of liturgical text.

Completed just a year before Bach’s death, Mass in B Minor was comprised of more than 25 choral movements, solos and duets, and was unique in its time for including the five major sections of the mass text, rather than the customary “Kyrie” and “Gloria.” Likely never performed in Bach’s lifetime, this piece has become one of the composer’s most enduring choral works. It is also one of the most difficult to perform, requiring a great deal of vocal stamina, and is an example of Bach’s innate tendency to write instrumentally, even for the voice.

There are as many ways to perform Bach’s music as there are ensembles worldwide. The evolution of choral societies in the 19th century led to massive choirs singing Bach with large orchestras and Romantic musical effects. The mid-20th century brought a renewed interest in presenting this music in the manner in which the music was originally conceived, an approach especially popular among European performers. The Monteverdi Choir, on the verge of its 60th anniversary, was founded to specialize in historically-inspired projects, with the Choir’s umbrella organization home to the younger but equally as influential English Baroque Soloists period instrumental orchestra. Dinis Sousa, associate conductor of the Monteverdi ensembles, led both the Choir and Baroque Soloists in their presentation of Bach’s towering work last Monday night. more

By Nancy Plum

New Jersey Symphony has long provided a showcase for up-and-coming artists destined for the forefront of the performing arena. The Symphony’s opening concert of its Princeton series this past Friday night at Richardson Auditorium brought together a conductor and solo cellist currently relatively unknown, but not for long. Conductor Joseph Young, music director of the Berkeley Symphony and director of ensembles at Peabody Conservatory, led the Symphony musicians in a program of Robert Schumann, Edward Elgar, and the Princeton University-connected Jessie Montgomery, and featured in the Schumann Cello Concerto was a definite future star in cellist Sterling Elliott, currently pursuing an artist diploma at The Juilliard School. The three pieces performed in Friday night’s concert highlighted unique instrumentation, rich orchestral colors, and a touch of virtuosity.

American composer Jessie Montgomery has had a partnership with Princeton University as a graduate fellow in music composition and has been making a name for herself creating musical works for ensembles nationwide. Among her most recent commissions was Snapshots, co-commissioned by several orchestras, including New Jersey Symphony. Friday night’s performance represented the East Coast premiere of Montgomery’s four-movement work, which Montgomery has described as a set of vignettes of her time studying film music. more

By Nancy Plum

Princeton University Concerts launched its 130th season this past week with a total immersion experience provided by a renowned professional chorus enjoying a visit to the University. The San Francisco-based vocal ensemble Chanticleer, led by music director and University graduate Tim Keeler, came to Princeton for a collaboration with the University Glee Club, currently under the direction of conductor Gabriel Crouch. Following days of joint rehearsals, a “Chamber Jam” and a “Live Music Meditation,” the two ensembles presented a concert this past Thursday night at Richardson Auditorium to close out their successful partnership. Typical of Chanticleer’s performances, the program featured repertoire ranging from the very traditional Max Reger and Heinrich Isaac to Hoagy Carmichael and Joni Mitchell, as well as a contemporary work by another Princeton University graduate.  more

By Nancy Plum

Fall always brings lively audiences to Richardson Auditorium for the University’s ensemble concerts, with anticipation of the new academic year and students cheering each other on. Princeton University Orchestra began its 2023-24 season this past weekend with two performances in Richardson featuring both the newest Orchestra roster of talented students and one student musician in particular who successfully tackled one of the most difficult works in the repertory.

Led by conductor Michael Pratt, Friday night’s performance (the concert was repeated Saturday night) continued the ensemble’s multi-year tradition of paying tribute to Ukraine with the playing of Elegie by Ukrainian composer and ethnomusicologist Mykola Lysenko. The Shostakovich and Rachmaninoff works which comprised the bulk of Friday’s program showcased the full capabilities of the Orchestra, and Pratt felt that for this season opener, the voice of Ukraine should also be heard. Lysenko originally composed Elegie as a solo piano piece, and the instrumental version played by the Orchestra was created by composer Vsevolod Sirenko and one of Princeton’s own — Class of 1983 graduate Hobart Earle, currently conductor of Ukraine’s Odesa Regional Philharmonic. This arrangement preserved Lysenko’s keyboard charm while reflecting the composer’s desire to retain Ukraine’s distinct identity within the country’s Russian historical influence. more

By Nancy Plum

Princeton University Summer Chamber Concerts closed its 56th season last week with a performance by Dalí Quartet, an ensemble of four string players committed to high-quality performance of classical and romantic repertoire, as well as a particular focus on works of Latin America. Violinists Ari Isaacman-Beck and Carlos Rubio, violist Adriana Linares, and cellist Jesús Morales came to Princeton’s Nassau Presbyterian Church last Wednesday night to present a concert of chamber music by Franz Schubert, Pyotr Ilyich Tchaikovsky, and renowned 20th-century Argentine composer Astor Piazzolla. Founded in 2004 and currently based in Philadelphia, Dalí Quartet showed in this concert the well-blended sound and combined technical facility these musicians have achieved over the past 10 years. more

By Nancy Plum

There is a tremendous amount of music for string trios and quartets, but repertoire for two wind instruments and piano is much more limited. The ensemble Poulenc Trio, currently celebrating its 20th anniversary, has been redefining the wind trio genre through performance and commissioning of works for oboe, bassoon, and piano. Oboist Alexander Vvedenskiy, bassoonist Bryan Young and pianist Irina Kaplan Lande came to Princeton last week to present a program of French music from the 19th through the 21st centuries. Whether a standard from a master or a newly-commissioned piece inspired by the French chamber tradition, the concert performed on Wednesday night’s concert at Nassau Presbyterian Church made for a refreshing summer evening. more

By Nancy Plum

A new music festival has set down roots in Princeton this summer. The John Perry Academy of Music, previously based in Los Angeles, has relocated to this area and launched its summer activities this past weekend. Bracketing 12 days of master classes, lectures, and private lessons for musicians are two piano recitals, the first of which took place this past Sunday evening. Russian pianist Mikhail Voskresensky, who left his homeland in 2022 in protest of the invasion of Ukraine, opened the festival with a concert of 18th- and 19th-century piano music at Mayo Hall on the campus of The College of New Jersey.

Voskresensky’s concert Sunday evening began with two musical gumdrops from Wolfgang Amadeus Mozart. Like others of Mozart’s works, Fantasy in d minor for piano was unfinished at the time of his death. In a type of musical fan fiction, Mozart’s widow turned to colleagues and friends to finish a number of these pieces. The last 10 measures of the Fantasy were thought to be written by German composer and organist August Müller, and his added fugal coda fit well with Mozart’s baroque intents in this short piece. Voskresensky paired this work with Mozart’s Fantasy in c minor, also left unfinished at the time of the composer’s death. The 28-bar original fragment was completed by composer and priest Abbé Maximilian Stadler, who titled the piece a fantasia and maintained the same baroque flavor that Mozart had begun. more

By Nancy Plum

The story of San Francisco supervisor Harvey Milk is one of the most tragic in American politics. Known as “The Mayor of Castro Street,” Milk was the first openly gay man to be elected to public office in California and was assassinated (along with the city’s mayor) in November 1978 by Dan White, a former supervisor who had been refused reinstatement to office. The aftermath of the untimely deaths of these individuals changed the face of San Francisco politics, and White’s subsequent suicide created a trinity of loss of both life and potential. more

By Nancy Plum

Princeton Festival has arrived in the community, with recitals, lectures, and full concerts in a range of venues throughout town. Under the umbrella of Princeton Symphony Orchestra, the Festival has always included full operas in the performance schedule, and this past Friday night saw the opening of the first of the Festival’s two mainstage productions. Under a tented pavilion at Morven Museum & Garden, the Festival presented Gioachino Rossini’s farcical The Barber of Seville, recalling to the stage two singers who excelled last season and introducing new outstanding voices to Princet+on audiences.

Rossini’s 1816 Barber of Seville was part of an operatic tradition of composing for not much more than a handful of principal performers, with strong contrasting characters and complex and intricate ensemble numbers. Each of the singers in Princeton Festival’s production needed to be able to carry the stage and hold their own in duets and trios which could fall apart with one slip-up. Led by Princeton Symphony Orchestra Music Director Rossen Milanov and presented in Italian with English titles, this Barber of Seville was musically precise and clearly focused on physical comedy as well as top-notch singing. more

By Nancy Plum

New Jersey Symphony Orchestra (NJSO) introduced a new violin star to Princeton audiences this past weekend in a performance also including a world premiere. Led by Music Director Xian Zhang, the Orchestra presented a concert in Richardson Auditorium Friday night featuring music commissioned for the Orchestra’s Centennial celebration, well as a beloved violin concerto performed by an up-and-coming superstar.

As part of its Centennial Anniversary, NJSO commissioned an orchestral piece from Chinese-American composer Chen Yi. Yi’s compositions are rooted in her upbringing during China’s Cultural Revolution, and she describes her works as a fusion of Chinese lore and Western form and techniques. The one-movement Landscape Impression, commissioned by NJSO and premiered in this past weekend’s concert, was inspired by two poems by the 11th-century writer Su Dong-Po.  more

By Nancy Plum

The most recognized orchestral ensemble on Princeton University’s campus might be the University Orchestra, but Princeton University Sinfonia has had just as much impact providing students and audiences with opportunities to hear both symphonic masterpieces and lesser-known works. Conducted by Ruth Ochs, Princeton Sinfonia performed its final concert of the season last Friday night at Richardson Auditorium, presenting a world premiere amid musical reflections of Irish culture and a nod to the Cinco de Mayo holiday.

The world premiere was of a piece by University sophomore Toussaint Santicola Jones. Inspired by the Leonora Carrington painting Red Horses of the Sidhe in the Princeton University Art Museum, Jones created a two-movement work musically depicting Carrington’s landscape and incorporating ancient Irish mythology. The resulting Naked, Upon the Road to Tara was an appealing orchestral work making full use of the large Sinfonia ensemble. more

By Nancy Plum

The Emerson String Quartet has been a frequent performer on the Princeton University Concerts series over the past decades. In this final season in the Emerson’s storied history, the Quartet returned to Richardson Auditorium last week for a program of Shostakovich and Mendelssohn, as well as a world premiere. However, the Emerson did not return alone; joining them in the second half of the program was the young and vibrant Calidore String Quartet, whose 10 years of performing has propelled the ensemble to the forefront of the performance arena. Although Thursday night’s concert belonged mostly to the Emerson Quartet, the addition of the Calidore players enabled a performance of a hidden gem of Mendelssohn chamber music.

For her 2002 string quartet, composer and Princeton native Sarah Kirkland Snider drew inspiration from the recordings of the Emerson String Quartet, and she has been well acquainted with their sound for quite some time. Drink the Wild Ayre, which received its world premiere by the Emerson Quartet in Thursday night’s concert, was also inspired by the Ralph Waldo Emerson’s descriptions of natural beauty, and one line of poetry in particular. From its opening measures played by Emerson first violinist Eugene Drucker, Snider’s work was an appealing piece with driving rhythms propelling thematic material forward. Violinists Drucker and Philip Setzer, violist Lawrence Dutton, and cellist Paul Watkins were often playing in similar registers, creating an unusually well-blended instrumental palette. Drucker and Setzer frequently paralleled each other in melodic material, while Watkins provided a rich cello line, especially in the upper register of the instrument. more

By Nancy Plum

New Jersey Symphony Orchestra fused Mozart, Bruckner and the 21^st century in a series of concerts this past weekend, including the premiere of a new work by Princeton University composer Steven Mackey. Led by Music Director Xian Zhang, the Orchestra combined Mackey’s large-scale symphonic work with Wolfgang Amadeus Mozart’s spirited Symphony No. 25 and Anton Bruckner’s devout Te Deum. Joining the Orchestra in Friday night’s performance at Richardson Auditorium were a number of exceptional vocal soloists and the Princeton University Glee Club. more

By Nancy Plum

The music of 18th-century Italian composer Antonio Vivaldi is frequently heard on recordings, radio, and in films, but less often performed live, and Vivaldi’s more than 50 operas in particular are virtually unknown. Overshadowed in modern Baroque opera performance by works of George Frideric Handel and others, Vivaldi’s operas contain the same audience appeal and technical demands of other popular Baroque composers but have been neglected in the repertory. The early-music Jupiter Ensemble, a collective of exceptional musicians whose concerts highlight virtuoso performance, brought Vivaldi’s lively and animated music to Richardson Auditorium last Thursday night, presented by Princeton University Concerts. The seven-member ensemble performed an all-Vivaldi program, with multi-movement instrumental concerti interspersed with operatic arias. With four concerti and six operas represented, the musicians of Jupiter Ensemble showed the nearly full house at Richardson just how exciting and entertaining the early 1700s could be.

Jupiter Ensemble Artistic Director Thomas Dunford has an international reputation as a virtuoso lute player, and this instrument figured significantly in Thursday night’s program. The Ensemble presented two lute concerti, and Dunford played continuously throughout the concert as part of a continuo accompaniment, joined by cellist Bruno Philippe, double bassist Douglas Balliett, and Elliot Figg playing both organ and harpsichord. Elegant string playing was provided by violinists Louise Ayrton and Augusta McKay Lodge, as well as violist Manami Mizumoto. Vivaldi’s opera arias were sensitively and expressively sung by French-Italian mezzo-soprano Lea Desandre, who has also performed some of the most demanding coloratura opera roles in the repertoire worldwide. more

By Nancy Plum

It is difficult not to bask in the music of late 19th-century Italian opera master Giacomo Puccini. The soaring melodic lines and lush orchestrations of Puccini’s operas captivate listeners, even if they are not opera fans. Boheme Opera NJ brought operatic simplicity and Puccini’s opulent music to the stage of The College of New Jersey’s Kendall Hall Theater this past weekend with a new production of the timeless Madama Butterfly. Conceived and directed by Stefanos Koroneos and sung in Italian with English supertitles, this performance was highly entertaining and gave the audience more than a few thrilling moments of singing.

As with all their productions, Boheme Opera NJ compiled a cast of experienced performers, including both singers returning to the company’s stage and those making a debut. In Friday night’s performance (the opera was repeated Sunday afternoon), conductor Joseph Pucciatti began the opera overture quickly and with breathless musical energy, as the curtain opened on a modest set of Butterfly’s house bathed in black and shadows.

As lead character Cio-Cio-San (Butterfly), soprano Ashley Galvani Bell brought operatic experience going back to her childhood as a member of the Metropolitan Opera Children’s Chorus. Bell showed a ringing upper register, especially in Butterfly’s signature aria “Un bel dì,” as she maintained eternal hope that her beloved Pinkerton would return. Clearly a woman who knew what she wanted, Bell’s Butterfly demonstrated a wide range of emotions through the music — teasing with Pinkerton, calming with her son and demure at the right times. more

By Nancy Plum

After three years of stop-and-start choral performance, Princeton Pro Musica has returned to what the ensemble does best — presenting choral/orchestral masterworks. This past Sunday, just in time for the composer’s 338th birthday, the 80-voice chorus performed Johann Sebastian Bach’s St. John Passion. Led by Pro Musica Artistic Director Ryan James Brandau and accompanied by the early music period orchestra La Fiocco and six vocal soloists, the singers of Pro Musica well demonstrated why pieces such as this have been their mainstay for the past 40 years.

Bach’s Johannes-Passion musically set the “passion narrative” of the suffering and death of Jesus as recorded in the canonical gospel of the apostle John. Bach illuminated John’s texts with arias, recitatives, and choruses, dramatically led by an Evangelist representing John, as well as the characters of Jesus and Pontius Pilate. In Sunday afternoon’s performance, Princeton Pro Musica and La Fiocco were joined by soloists Steven Caldicott Wilson singing the role of the Evangelist, Will Doreza as Jesus, and Jesse Blumberg singing the role of Pilate. Soprano Madeline Apple Healy, alto Robin Bier, and tenor Eric Finbarr Carey rounded out a vocal quartet with Doreza to provide additional musical commentary on the text.  more