Last weekend’s all-Wagner concerts by the Dallas Symphony reminded that earlier times could match our own, note-for-note, in violating the boundaries of polite behavior and pre-conceived notions.

The Classical Note: Is Charles Ives’ Concord Sonata The Greatest Music Ever Composed by an American?
Ives Sonata was the centerpiece of a literary-themed Soundings concert at the Nasher. Plus, the Dallas Symphony scores with 19th century composers.

If you missed a couple of concerts this past week at the Winspear Opera House by the Ahn Trio and Orli Shaham, don’t worry. You didn’t miss much.

The Dallas Symphony Orchestra embarked on a two-week European tour on March 9. While they were there, they stopped by the Dutch TV show “Vrije Geluiden.” You can watch those performances here.

Yesterday marked the official first day of spring. To commemorate warmer days ahead, we’ve got the perfect giveaway to help you move on from the winter blues.

Old repertoire next to new brought added interest to two area performances last week—in both cases, in Fort Worth.

The new season announcements reveal which classical music organizations are driving innovative local programming. Plus, a spotlight on the ever-popular Hungarian composer Gyorgy Ligeti.
The way he played the piano created something of a geo-political miracle, but Cliburn came to epitomize the dilemma of the classical music celebrity in the post-industrial world. Plus, the Chamber Symphony’s strong and worthy niche.

The Van Cliburn Foundation, which runs the Van Cliburn International Piano Competition, has announced the full list of 30 competitors.

“After a magical Moscow spring in 1958, Mr. Cliburn’s fame eclipsed even those musical contemporaries, rivaling that of another young superstar of his time, Elvis Presley.”

Hometown hopeful Alex McDonald’s audition was one of a few that stood out during the pre-piano competition performance rounds.

“Our own” Texas-born, TCU-trained lyric coloratura soprano Ava Pine, who continues to make ever bigger waves in the operatic world, returned to Dallas Saturday night for an all-Handel concert. Plus, the Dallas Symphony nails Stucky.

This other-worldly orchestral show features NASA images of the world’s many wonders. We have tickets to tonight’s show at Winspear Opera House for one lucky winner.

Ahead of North Texas’ homegrown opera starlet’s Baroque recital this weekend, we got to learn about her favorite city, the harrowing life of an opera singer, and why she doesn’t get Björk.

Music director Grover Wilkins III won a permanent place of honor on the local music scene last week with a masterful production of eighteenth-century “zarzuela,” Las Nuevas armas de amor.

The Dallas Opera looks to make its Cowboys Stadium simulcast an annual tradition, and this year it is adding the “wabbit” to the program.

SMU’s Meadows School of the Arts has announced the creation of a new arts market think tank, the first of its kind in the nation.

Dallas Opera, with an admirable policy of maintaining a public presence between the mainstage productions at the Winspear, presented Lee Hoiby’s delightful one-woman show Bon Appétit in the Market’s demonstration kitchen.

Bernhardt will be conducting the Dallas Symphony Orchestra this weekend, and we got a chance to ask him about John Williams, baseball cards, why he loves Chattanooga, and more.

At a point in history at which there are probably more great composers — and more great American composers — alive than ever before, the DSO will feature just one next season.

Although I consistently questioned the wisdom and efficiency of devoting two weeks out of a shortened classical subscription series to one composer, music director Jaap van Zweden completely won me over.

Bucchino, who writes most of his own lyrics, in fact out-Schuberts Schubert in his powerful use of language.

The Dallas Symphony Orchestra’s Mozart Festival kicks off tonight. If you can answer our trivia question, we’ll make sure you get a pair to the opening night with guest violinist Augustin Hadelich.

Three hyper-familiar works, all three composed between the years 1876 and 1894 in the same high romantic, structurally conscious style, added up to a dull evening at the Meyerson.
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