Cameron Kelsall is a classical music and theater critic based in Philadelphia. He is a member of the Society of Professional Journalists and is Vice Chair of the American Theatre Critics Association. In addition to Bachtrack, his writing appears in Opera News, Parterre Box, Classical Voice North America, Broad Street Review and the Philadelphia Inquirer. He is a proud graduate of Ohio University. A hobbyist musician, Cameron plays piano, clarinet and saxophone. Twitter: @CameronPKelsall
Ending her first season as principal guest conductor, Stutzmann brought a unique and personal perspective to the Pathétique, finding inspiration in the letter of the score.
We spoke to Roza Nolčeva-Angelovska, the Gävle Symphony Orchestra’s Director of Programming and Artistic Planning, about this passionate ensemble with unique history and connection to their home city.
Má vlast is a universal and contemporary piece: we look into what makes it so powerful, and how the Czech Philharmonic has made it a landmark piece within its repertoire.
Dvořák's “New World” Symphony anchored a program that celebrated the diversity and sweep of the American sound world, alongside Barber's Violin Concerto and a Mason Bates world premiere.
Following a sudden cancelation from Angel Blue, concertmaster David Kim and associate concertmaster Juliette Kang gamely offered the Double Violin Concerto on presumably no rehearsal.
Unstaged performances of Stravinsky's Oedipus Rex and George Walker's Lilacs highlighted musical inadequacies and deprived audiences of the creative productions they've come to expect from this company.
The all-female program Schultz and pianist Jonathan Ware brought to the Philadelphia Chamber Music Society spanned three centuries, three languages and several continents.
Amid stressful cancelations and last-minute program shifts, Xian Zhang offered thrilling interpretations of classic Beethoven and Rossini works in her Philadelphia Orchestra debut.
We spoke to Floris Don, the Orchestra’s manager of artistic affairs, about that viral "Ode to joy" and all the interesting virtual concerts still waiting ahead.
A cast comprised of the world’s leading Wagnerians, under the baton of Sir Antonio Pappano, deserve better than Otto Schenk’s outdated and cartoonish production.
