[Read all of our classical music coverage here.]
Hey there! Javier Camarena sang 18 high C’s at the Metropolitan Opera on Thursday evening. Read all about it, and watch:
This week the New York Philharmonic announced its 2019-20 season, and we writers came together to make a list of our highlights. Or pre-highlights, perhaps. There’s some good stuff!
And Tony Tommasini, our chief critic, offered some lovely memories of working with the American baritone Sanford Sylvan, who died last week:
I reviewed an austere but moving revival of Robert Ashley’s opera “Improvement (Don Leaves Linda),” which I’d highly recommend. (It runs through Feb. 16.) Take a listen to the piece:
And I’ll leave you with Scriabin’s Piano Concerto, which Daniil Trifonov will play with the New York Phil next season. Here’s a lucid, feeling recording with Pierre Boulez conducting Anatol Ugorski and the Chicago Symphony. Enjoy! ZACHARY WOOLFE
Finally, the overlap in the Venn diagram of Arnold Schoenberg and bluegrass music is getting a bit larger, thanks to “(Gimme Some of That) Ol’ Atonal Music,” by the country prankster Merle Hazard. The whole thing made me smile, but it was his high-pitched, Bob Wills-ian “Aha” during the atonal banjo solo that made me crack up. MICHAEL COOPER
Instead of watching the State of the Union address on Tuesday, I heard Messiaen’s “Quartet for the End of Time” in the crypt of a church.
As part of the Crypt Sessions series at the Church of the Intercession in Harlem, the piece got a mystical and moving performance from a makeshift group: Yoonah Kim, clarinet; Orion Weiss, piano; Stefan Jackiw, violin; and Jay Campbell, cello. They played with the synchronicity of a seasoned ensemble, nailing exposed and dangerous passages like the octave runs in the “Interlude” and “Tangle of Rainbows.”
In the extreme intimacy of the crypt, you could hear the click-clack of the clarinet’s keys, and the airy sounds of bows on strings. Up close, the quartet seemed to deal only in disorienting extremes, like the alternating alarms and chirps, both chilling and playful, in “Abyss of the Birds,” a lengthy solo played with inexhaustible virtuosity by Ms. Kim. And proximity lifted “Praise to the Eternity of Jesus,” a duet for cello and piano (heard here in a luxury-casting album from 2017), to the sublime. JOSHUA BARONE
Yuja Wang’s regular partnership with the violinist Leonidas Kavakos isn’t the place to hear the sustained stretches of imaginative power that characterize her solo-piano concerts. On their recording of the Brahms violin sonatas — and at their gripping recital at Carnegie Hall on Wednesday — it’s possible to sense Ms. Wang pulling back on the throttle. Which isn’t a bad thing; it can be a revelation to hear this bold pianist in a collaborative setting.
That quality of reserve can also make Ms. Wang’s occasional lurch into more demonstrative playing all the more shocking. On Wednesday, her florid energy found a moment for expression during Brahms’s Violin Sonata No. 2. During the middle movement’s “Vivace di più” section, the rhythmic charge Ms. Wang put into select chords made it feel as though she could vault into Stravinsky’s “Petrouchka” transcription at any second. She didn’t, of course — and Mr. Kavakos’s steely sense of purpose kept the performance from losing its overall form. But it was a reminder of how thoroughly Ms. Wang can transform a familiar work. SETH COLTER WALLS
Recently, over five days in New York, three pianists at very different stages of their careers gave remarkable recitals. Leon Fleisher celebrated his 90th birthday with musician friends at Zankel Hall. Jeremy Denk, 48 and in his prime, concluded a varied program (literally: he offered theme and variation pieces by Beethoven, Mendelssohn and John Adams) at Carnegie Hall with a magnificent account of Schumann’s Fantasy in C. And Behzod Abduraimov, 28, appeared at the 92nd Street Y. This fast-rising Uzbek pianist, who combines prodigious technique with a feeling for color and youthful temperament, gave a stunning account of Liszt’s formidable Sonata in B minor.
But his overeagerness came through in 10 Pieces from Prokofiev’s “Romeo and Juliet.” There were captivating moments but also passages of slam-bang steeliness. Perhaps he had trouble adjusting to the Y’s intimacy; he has said that he prefers big spaces. Mr. Abduraimov can certainly play with wondrous fleetness, clarity and imagination, as he did in his encore, Liszt’s “La Campanella.” Just listen to him in this excerpt from a 2015 performance in Munich. ANTHONY TOMMASINIB:
澳门彩票【还】【有】【大】【概】【好】【几】【十】【天】，【就】【要】【过】【年】【了】，【在】【此】，【先】【给】【大】【家】【拜】【个】【早】【年】【吧】，【大】【家】，【过】【年】【好】【啊】~ 【首】【先】，【要】【非】【常】【郑】【重】【的】【感】【谢】，【那】【些】【追】【着】【这】【本】【书】【的】【书】【友】【们】，【从】【头】【到】【尾】，【感】【谢】【你】【们】【的】【支】【持】，【没】【有】【你】【们】【的】【支】【持】，【我】【也】【坚】【持】【不】【下】【去】，【有】【你】【们】【在】，【我】【知】【道】，【我】【不】【是】【自】【己】【一】【个】【人】，【感】【谢】【你】【们】【的】【陪】【伴】，【感】【谢】【你】【们】【的】【认】【可】。 【可】【能】【你】【们】【要】【说】，【谁】【认】【可】
【对】【于】【两】【人】【的】【关】【系】，【林】【倒】【是】【十】【分】【的】【乐】【观】。 【极】【是】【守】【了】【他】【们】【一】【个】【晚】【上】【的】，【主】【子】，【真】【的】【一】【整】【晚】【都】【和】【世】【子】【待】【在】【一】【会】【儿】，【这】. 【看】【着】【两】【人】【的】【表】【情】，【古】【流】【萧】【顿】【时】【解】【释】【道】：“【不】【是】【的】，【你】【们】【别】【误】【会】【我】【们】.” .. 【古】【流】【萧】【还】【未】【说】【完】，【就】【听】【到】【梁】【修】【烈】【打】【断】【着】【接】【话】【道】：“【你】【们】【没】【有】
“【现】【在】【立】【刻】【把】【门】【打】【开】。” 【慕】【容】【轩】【愠】【怒】【的】【低】【吼】，【两】【人】【根】【本】【不】【知】【道】【发】【生】【了】【什】【么】【事】，【其】【中】【一】【个】【人】【已】【经】【拿】【出】【了】【钥】【匙】【去】【开】【门】，【门】【开】【了】，【陆】【朝】【花】【安】【静】【的】【躺】【在】【地】【上】，【脸】【色】【煞】【白】，【但】【是】【她】【的】【两】【只】【手】【紧】【紧】【地】【抱】【着】【自】【己】【的】【肚】【子】，【一】【如】【当】【初】【在】【河】【边】【发】【现】【秀】【秀】【时】【候】【的】【场】【景】【一】【模】【一】【样】。 【慕】【容】【轩】【顾】【不】【得】【其】【他】，【迈】【着】【慌】【乱】【的】【脚】【步】【走】【到】【陆】【朝】【花】【的】【身】【边】
【阿】【良】【甚】【至】【理】【解】【了】。 【原】【来】【那】【些】【妖】【怪】，【是】【抱】【着】【这】【样】【的】【心】【情】，【才】【去】【往】【人】【间】【的】。 【听】【了】【他】【的】【话】，【少】【女】【阿】【眉】【双】【眸】【放】【光】，【是】【比】【他】【还】【要】【迫】【切】【的】【神】【情】，【忍】【不】【住】【坐】【直】【了】【身】【子】。 “【真】【的】【么】，【阿】【良】，【你】【也】【想】【去】【人】【间】【看】【一】【看】【的】【么】？【那】【太】【好】【了】，【咱】【们】【一】【起】【去】【吧】，【你】【知】【道】【么】，【也】【许】【再】【次】【穿】【越】【回】【去】，【我】【可】【以】【寻】【回】【我】【的】【记】【忆】【呢】，【到】【时】【我】【带】【你】【游】【历】【人】
【通】【过】【投】【影】【让】【后】【面】【的】【大】【屏】【幕】【上】【展】【现】【出】【这】【个】【碗】【的】【细】【节】，【沈】【伊】【一】【开】【始】【乍】【一】【看】【觉】【得】【有】【一】【点】【眼】【熟】，【仔】【细】【一】【想】【这】【个】【碗】【好】【像】【之】【前】【的】【观】【赏】【会】【的】【展】【柜】【里】【见】【过】。 “【以】【沈】【小】【姐】【的】【眼】【力】【来】【看】【看】【这】【个】【碗】【怎】【么】【样】？”【慕】【向】【东】【突】【然】【问】【道】。 【沈】【伊】【一】【愣】，【随】【即】【像】【是】【明】【白】【了】【什】【么】【一】【样】【开】【口】【笑】【道】“【怪】【不】【得】【慕】【董】【要】【带】【我】【来】【参】【加】【这】【次】【拍】【卖】【会】，【原】【来】【主】【意】【是】【打】【在】【这】澳门彩票【根】【据】iFixit【星】【期】【四】【发】【布】【的】【一】【份】【拆】【解】【报】【告】，【最】【新】【的】【表】【明】【微】【软】【正】【在】【进】【入】“【可】【修】【复】【平】【板】【电】【脑】【时】【代】”。【在】【报】【告】【指】【出】Surface Pro X【的】SSD【是】【用】【户】【可】【以】【自】【助】【更】【换】【的】，【并】【且】【它】【其】【中】【大】【多】【数】【组】【件】【都】【是】【模】【块】【化】，【在】【维】【修】【是】【可】【以】【独】【立】【更】【换】。
【全】【球】【整】【个】【地】【下】【世】【界】【存】【在】【着】【数】【不】【清】【的】【组】【织】，【其】【中】【实】【力】【最】【强】【的】【是】【五】【个】【地】【位】【超】【然】【的】【组】【织】。 【它】【们】【五】【个】【也】【是】【唯】【一】【被】【公】【认】【达】【到】S【级】【的】【组】【织】！ 【北】【欧】【的】【异】【能】【者】【协】【会】，【神】【秘】【的】【暗】【黑】【圣】【教】，【美】【洲】【的】【骷】【髅】【会】，【恐】【怖】【的】【地】【狱】【军】【团】、【以】【及】【华】【夏】【的】【龙】【魂】！ 【而】【作】【为】【暗】【地】【里】【守】【护】【着】【华】【夏】【的】S【级】【组】【织】，【龙】【魂】，【其】【最】【高】【层】【便】【是】【战】【力】【超】【群】【而】【又】【相】【当】【神】【秘】
【梅】【若】【灵】【也】【没】【有】【那】【么】【容】【易】【就】【放】【弃】，【她】【到】【处】【在】【系】【统】【里】【找】【权】【限】【开】【关】：“【仙】【人】，【既】【然】【你】【启】【发】【了】【我】【这】【么】【多】【次】，【为】【什】【么】【重】【来】【没】【有】【尝】【试】【把】【整】【个】【天】【阕】【楼】【的】【管】【理】【权】【限】【给】【我】？” 【老】【者】【似】【乎】【被】【梅】【若】【灵】【这】【个】【问】【题】【给】【问】【住】：“【这】【个】……【你】【想】【要】【管】【理】【整】【个】【天】【阕】【楼】【吗】？” 【梅】【若】【灵】【看】【不】【到】【自】【己】【真】【正】【意】【识】【的】【投】【影】，【她】【始】【终】【无】【法】【理】【解】【在】【世】【界】【上】【真】【的】【有】【机】【器】