Classical Grammy Awards winners

Female composers and artists were the big winners of this year’s classical Grammy Awards, with awards going to the Philadelphia Orchestra’s recording of two symphonies by Florence Price, violinist Jennifer Koh’s album of contemporary miniatures “Alone Together,” Caroline Shaw’s song cycle “Narrow Sea,” Danaë Xanthe Vlasse’s song collection “Mythologies,” and “Women Warriors – Voices of Change,” a collection curated and conducted by Amy Anderson.

More standard (or dead white European male) classical fare earned Grammys for Gustavo Dudamel, the Los Angeles Philharmonic and vocal forces in Mahler’s Eighth Symphony and cellist Yo-Yo Ma and pianist Emanuel Ax playing Beethoven’s cello sonatas.

A Metropolitan Opera production of “Akhnaten,” Philip Glass’ “portrait” opera on the Egyptian Pharaoh Amenhotep III, won in the best opera category. The cast includes Will Liverman, the Virginia Beach-born baritone who serves as creative partner and advisor of Virginia Opera.

Lyle Mays, the jazz keyboard player who died in February 2020, was awarded a best instrumental composition Grammy for his last recording, “Eberhard,” a tribute to jazz bassist Eberhard Weber, with whom Mays had worked for many years. Weber has been unable to perform since suffering a stroke in 2007.

Jon Batiste, the keyboardist and bandleader for television’s “Late Show with Stephen Colbert,” one of whose 11 Grammy nominations was in a classical category, sparking controversy among some classical musicians and academics, took home the contest’s top popular-music award, album of the year, for “We Are.”

Appearing via video at the awards ceremony, Ukrainian President Volodymyr Zelenskiy said: “Fill the silence with your music. Fill it today to tell our story. Tell the truth about the war on your social networks, on TV, support us in any way you can any, but not silence.” After Zelenskiy’s remarks, John Legend played his song “Free,” joined by Ukrainian musicians Siuzanna Iglidan and Mika Newton and poet Lyuba Yakimchuk.

This year’s classical Grammy winners:

Best Orchestral Performance
Florence Price: Symphonies Nos. 1 & 3Philadelphia Orchestra/Yannick Nézet-Séguin (Deutsche Grammophon).

Best Opera Performance
Philip Glass: “Akhnaten” Zachary James, Richard Bernstein, Aaron Blake, Will Liverman, et al./Metropolitan Opera/Karen Kamensek (Orange Mountain).

Best Choral Performance
Mahler: Symphony No. 8 (“Symphony of a Thousand”)Los Angeles Philharmonic, et al./Gustavo Dudamel (Deutsche Grammophon).

Best Chamber Music/Small Ensemble Performance
Beethoven: cello sonatas (“Hope amid Tears”)Yo-Yo Ma, cello; Emanuel Ax, piano (Sony Classical).

Best Classical Instrumental Solo
“Alone Together” (works by Vijay Iyer, Caroline Davis, Rajna Swaminathan, Missy Mazzoli, others) – Jennifer Koh, violin; et al. (Çedille).

Best Classical Solo Vocal Album
Danaë Xanthe Vlasse: “Mythologies”Sangeeta Kaur & Hila Plitmann, sopranos, et al. (Cezanne Producciones)

Best Classical Compendium
“Women Warriors – Voices of Change” (works by Nathalie Bonin, Miriam Cutler, Anne-Kathrin Dern, Sharon Farber, Penka Kouneva, Starr Parodi, Lolita Ritmanis) – orchestra/Amy Anderson (La-La Land Records).

Best Contemporary Classical Composition
Caroline Shaw: “Narrow Sea”Dawn Upshaw, soprano; Gilbert Kalish, piano; Sō Percussion (Nonesuch).

Best Instrumental Composition
Lyle Mays: “Eberhard”Lyle Mays, keyboards; et al. (Oim).

Best Engineered Album (Classical)
“Chanticleer Sings Christmas”Chanticleer; Leslie Ann Jones, engineer (Warner Classics).

Producer of the Year (Classical)
Judith Sherman
.

Joseph Kalichstein (1946-2022)

Joseph Kalichstein, the Israeli-born US pianist, chamber musician and teacher, has died at 76 of pancreatic cancer.

Kalichstein was most widely known for the piano trio he formed with violinist Jaime Laredo and cellist Sharon Robinson, originally to perform at the inauguration of President Jimmy Carter in 1977. The threesome became a permanent ensemble in 1981.

Kalichstein also was a widely traveled solo pianist and a longtime teacher at his alma mater, New York’s Juilliard School.

In recent years, he was artistic director of the Fortas Chamber Music Concerts at the Kennedy Center in Washington. The Kalichstein-Laredo-Robinson Trio regularly performed in that and other leading chamber-music series and festivals.

The trio commissioned works from a number of prominent composers, and made many recordings of both standard and contemporary repertory.

A frequent visitor to Richmond since the 1980s, Kalichstein performed as a soloist in several dates with the Richmond Symphony and with the trio in a succession of engagements in the Rennolds Chamber Concerts at Virginia Commonwealth University.

An obituary by Tim Page for The Washington Post:

http://www.washingtonpost.com/obituaries/2022/04/02/pianist-joseph-kalichstein-dies/

April calendar

Classical performances in and around Richmond, with selected events elsewhere in Virginia and the Washington area. Program information, provided by presenters, is updated as details become available. Adult ticket prices are listed; senior, student/youth, military, group and other discounts may be offered.

Each listing includes primary Covid-19 safety protocols for the event. Contact presenters and venues for updated or modified requirements.

April 1 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
UVa Baroque Orchestra
David Sariti directing
Dominic Giardino, clarinet

“Germans Abroad”
works TBA by Haydn, C.P.E. Bach, Joseph Schmitt, Johann Christoph Fischer
$10
masks recommended
(434) 924-3376
http://music.virginia.edu/events

April 1 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Michael Tilson Thomas conducting

Mahler: Symphony No. 2 in C minor (“Resurrection”)
Ying Fang, soprano
Alice Coote, mezzo-soprano
Choral Arts Society of Washington

$15-$99
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 1 (8 p.m.)
April 3 (2:30 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets, Richmond
Virginia Opera
Adam Turner conducting

Mozart: “The Marriage of Figaro”
Erik Earl Larson (Figaro)
Alisa Jordheim (Susanna)
Symone Harcum (Countess Almaviva)
Richard Ollarsaba (Count Almaviva)
Lauren Cook (Cherubino)
Whitney Robinson (Marcellina)
Jason Ferrante (Basilio/Don Curzio)
Eric J. McConnell (Bartolo)
Catherine Goode (Barbarina)
Chauncey Blade (Antonio)
Kyle Lang, stage director

in Italian, English captions
$19.73-$135.01
masks recommended
(866) 673-7282
http://vaopera.org

April 1 (7:30 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
April 2 (7:30 p.m.)
Chrysler Hall, 215 St. Paul’s Boulevard, Norfolk
April 3 (2:30 p.m.)
Sandler Arts Center, 201 S. Market St., Virginia Beach
Virginia Symphony Orchestra
Eric Jacobsen conducting

Beethoven: Symphony No. 9 in D minor (“Choral”)
Jennifer Check, soprano
Kirstin Chavez, mezzo-soprano
Gene Stenger, tenor
Markel Reed, baritone
Virginia Symphony Orchestra Chorus

$25-$110
masks recommended
(757) 892-6366
http://virginiasymphony.org

April 1 (7:30 p.m.)
The Barns at Wolf Trap, 1635 Trap Road, Vienna
Chamber Music Society of Lincoln Center:
Stella Chen & Ani Kavafian, violins
Hsin-Yun Huang & Paul Neubauer, violas
Mihai Marica & David Requiro, cellos

Beethoven: String Trio in G major, Op. 9, No. 1
Mozart: String Quintet in C minor, K. 406
Brahms: String Sextet in B flat major, Op. 18

$44
proof of vaccination or negative test result, photo ID & masks required
(703) 255-1868
http://wolftrap.org

April 2 (2 p.m.)
Gellman Room, Richmond Public Library, First and Franklin streets
Capitol Opera Richmond
“Music in the Books”
arias & songs TBA

free
masks required
(804) 646-7223
http://rvalibrary.org

April 2 (7 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
Rennolds Chamber Concerts:
Viano String Quartet
Prokofiev: Quartet No. 2, Op. 92
Arvo Pärt: “Fratres”
Ginastera: Quartet No. 1
Borodin: Quartet No. 2 in D major

$30
masks required
(804) 828-1169
http://arts.vcu.edu/academics/departments/music/concerts-and-events/rennolds-series/

April 2 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
Virginia Women’s Chorus
Katherine (KaeRenae) Mitchell directing

country band TBA
“Oh, What a World”
program TBA

$20
masks required
(434) 924-3376
http://music.virginia.edu/events

April 2 (3 p.m.)
Herter Hall, Garth Newel Music Center, 403 Garth Newel Lane, Hot Springs
Teresa Ling, violin
Fitz Gary, viola
Isaac Melamed, cello
Jeannette Fang, piano

Daniel Temkin: “Flow”
David Biedenbender: “Solstice”
Chris Rogerson: “Summer Night Music”
Rogerson: “Sleep Music”

donation requested
masks recommended
(877) 558-1689
http://garthnewel.org

April 2 (8 p.m.)
Kennedy Center Concert Hall, Washington
Itzhak Perlman, violin
Rohan De Silva, piano

“An Evening with Itzhak Perlman”
multimedia program TBA

$45-$135
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 3 (3 p.m.)
Good Luck Cellars, 1025 Goodluck Road, Kilmarnock
Capitol Opera Richmond
“Music in the Books”
arias & songs TBA

$25
masks recommended
(804) 435-1416
http://capitoloperarichmond.org

April 3 (7 p.m.)
Center for the Arts, George Mason University, Fairfax
Jeffrey Siegel, piano & speaker
“Keyboard Conversations: Evocative Visions”
Debussy: “The Girl with the Flaxen Hair”
Grieg: “Wedding Day at Troldhagen”
Liszt: “By the Water”
Rachmaninoff: Étude-tableau in D major, Op. 39, No. 9

$29-$48
proof of vaccination or negative test result, photo ID & masks required
(703) 993-2787
http://cfa.gmu.edu

April 4 (7:30 p.m.)
Ukrop Auditorium, Robins School of Business, University of Richmond
Neumann Lecture on Music:
Robynn Stilwell, speaker
“Shadowland: Marginalized Identity at the Roots of ‘Americana’ ”
free; tickets required
masks required
(804) 289-8980
http://modlin.richmond.edu

April 4 (7:30 p.m.)
Kaufman Theater, Chrysler Museum of Art, 1 Memorial Place, Norfolk
Feldman Chamber Music Society:
Formosa Quartet
Mozart: Quartet in G major, K. 387
Dvořák: Quartet in F major, Op. 96 (“American”)
“Formosa Quartet Set”
(various composers)
$25
masks required
(757) 552-1630
http://feldmanchambermusic.org

April 5 (8 p.m.)
Williamsburg Library Theatre, 515 Scotland St.
Chamber Music Society of Williamsburg:
Formosa Quartet
Mozart: Quartet in G major, K. 387
Dvořák: Quartet in F major, Op. 96 (“American”)
“Formosa Quartet Set”
(various composers)
$25 (waiting list)
masks required
(757) 741-3300 (Williamsburg Regional Library)
http://chambermusicwilliamsburg.org

April 5 (7 p.m.)
Grandin Theatre, 1310 Grandin Road SW, Roanoke
Roanoke Symphony Orchestra members
David Stewart Wiley conducting
“Lights, Camera, Classics!”
film music program TBA

$34-$52
masks required
(540) 343-9127
http://rso.com

April 6 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
UR Symphony Orchestra
Alexander Kordzaia conducting

program TBA
free; tickets required
masks required
(804) 289-8980
http://modlin.richmond.edu

April 6 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Jamie Barton, mezzo-soprano
Jake Heggie, piano & composer

works TBA by Heggie, Purcell, Schubert, Brahms, Florence Price
$50
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 7 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
Edgar Meyer, double-bass & composer
The Scottish Ensemble

Holst: “St. Paul’s Suite”
Meyer: Concert Duo – movement 1
Meyer: new work TBA
Caroline Shaw: “Punctum”
J.S. Bach: Viola da gamba Sonata in G major, BWV 1027
Vaughan Williams: “The Lark Ascending”
(arrangement by Adam Johnston)
$35 (general admission)
masks required
(804) 289-8980
http://modlin.richmond.edu

April 7 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
UVa New Music Ensemble
I-Jen Fang directing

Julius Eastman: “Stay on It”
other works TBA
(premieres)
free
masks recommended
(434) 924-3376
http://music.virginia.edu/events

April 7 (7 p.m.)
April 9 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Roderick Cox conducting

Esa-Pekka Salonen: “Helix”
Ravel: Piano Concerto in G major

Helène Grimaud, piano
Prokofiev: Symphony No. 5 in B flat major
$15-$99
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 8 (noon)
Christ Lutheran Church, 2807 N. Augusta St., Staunton
Staunton Music Festival:
David Schrader, organ
Heinrich Scheidemann: “Benedicam Domino”
Georg Böhm: “Three settings of ‘Vater unser im Himmelreich’ ”
Francisco Correa de Araujo: “Tiento del segundo tono de medio registro de tiple”
Frescobaldi: “Toccata per l’elevazione”
Buxtehude: Praeludium in G minor, BuxWV 163
J. S. Bach: Toccata, Adagio, and Fugue in C major, BWV 564

free
proof of vaccination or negative test result & masks required
(540) 569-0267
http://stauntonmusicfestival.org

April 8 (7 p.m.)
Central United Methodist Church, 14 N. Lewis St., Staunton
Staunton Music Festival:
Carsten Schmidt conducting
Jacob Ashworth, Martin Davids, Chloe Fedor, Ingrid Matthews, Aisslinn Nosky, violins
Sarah Darling, Gesa Kordes, Jason Fisher, violas
Michael Unterman & James Wilson, cellos
Heather Miller Lardin, double-bass
Margaret Owens, oboe
Keith Collins, bassoon
Kris Kwapis & Bruno Lourensetto, trumpets
Adam Cockerham, lute
Mark Shuldiner, harpsichord
David Schrader, organ
Amy Nicole Broadbent & Molly Netter, sopranos
Angela Young Smucker, mezzo-soprano
Clifton Massey, countertenor
Brian Giebler & Corey Shotwell, tenor
Edmund Milly & Paul Max Tipton, bass-baritones

Vivaldi: Concerto in C major for two trumpets, strings and continuo
Barbara Strozzi: madrigals from Op. 1
Vivaldi: Bassoon Concerto in D minor
Benedetto Marcello: Oboe Concerto in D minor
Vivaldi: Lute Concerto in D major
Francesco Geminiani: Concerto grosso in D minor (“La folia”)

$26
proof of vaccination or negative test result & masks required
(540) 569-0267
http://stauntonmusicfestival.org

April 8 (8 p.m.)
The Anthem, 901 Wharf St. SW, Washington
National Symphony Orchestra
Roderick Cox conducting

Esa-Pekka Salonen: “Helix”
Prokofiev: Symphony No. 5 in B flat major

$15-$30
proof of vaccination, photo ID & masks required
(202) 467-4600 (Instant Charge)
http://kennedy-center.org

April 9 (8 p.m.)
April 10 (3 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets, Richmond
Richmond Symphony
Erin Freeman conducting

Haydn: “The Creation”
Laura Strickling, soprano
Miles Mykkanen, tenor
Michael Dean, bass-baritone
Richmond Symphony Chorus

$10-$82
masks recommended
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

April 9 (7:30 p.m.)
Christ & St. Luke’s Episcopal Church, 560 W. Olney Road, Norfolk
Virginia Arts Festival:
Chanticleer
program TBA
$35
masks recommended
(757) 282-2822
http://vafest.org

April 9 (7:30 p.m.)
Academy Center for the Arts Historic Theatre, 600 Main St., Lynchburg
Lynchburg Symphony Orchestra
David Glover conducting

Jessie Montgomery: “Starburst”
Vivaldi: “The Four Seasons”

Yevgeniy Dovgalyuk, violin
Copland: “Appalachian Spring”
$6-$75
masks recommended
(434) 845-6604
http://lynchburgsymphony.org

April 9 (noon)
First Presbyterian Church, 100 E. Frederick St., Staunton
Staunton Music Festival:
Jacob Ashworth, Martin Davids, Chloe Fedor, Ingrid Matthews & Aisslinn Nosky, violins
Jason Fisher, viola
James Wilson, cello
Heather Miller Lardin, double-bass
Margaret Owens & Sarah Schilling, oboes
Keith Collins, bassoon
Kris Kwapis, trumpet
Adam Cockerham, lute
Mark Shuldiner, harpsichord
David Schrader, organ
Amy Nicole Broadbent, soprano
Clifton Massey, countertenor
Brian Giebler, tenor
Paul Max Tipton, bass-baritone

Johann Pachelbel: Canon and Gigue
Johann Friedrich Fasch: Trio Sonata in B flat major for recorder, oboe, violin, and continuo
J.S. Bach: Quodlibet for vocal quartet and continuo
Johann Georg Pisendel: Sonata in A minor for solo violin
Telemann: Concerto in D major for two oboes, trumpet, and continuo
free
proof of vaccination or negative test result & masks required
(540) 569-0267
http://stauntonmusicfestival.org

April 9 (7 p.m.)
First Presbyterian Church, 100 E. Frederick St., Staunton
Staunton Music Festival:
Carsten Schmidt conducting
Jacob Ashworth, Martin Davids, Chloe Fedor, Ingrid Matthews Aisslinn Nosky, violins
Sarah Darling, Jason Fisher & Gesa Kordes, violas
Michael Unterman & James Wilson, cellos
Heather Miller Lardin, double-bass
Margaret Owens & Sharon Schilling, oboes
Keith Collins, bassoon
Luke Balslov, Kris Kwapis & Bruno Lourensetto, trumpets
Adam Cockerham, lute
Mark Shuldiner, harpsichord
David Schrader, organ
I-Jen Fang, percussion
Amy Nicole Broadbent & Molly Netter, sopranos
Angela Young Smucker, mezzo-soprano
Clifton Massey, countertenor
Brian Giebler & Corey Shotwell, tenors
Edmund Milly & Paul Max Tipton, bass-baritones

J.S. Bach: Orchestral Suite No. 3 in D major, BWV 1068
Johann Michael Bach: “Ach, bleib bei uns”
Johann Christoph Bach: Prelude and Fugue in E flat major for organ
Georg Christoph Bach: “Siehe, wie fein und lieblich”
J.S. Bach: Cantata, “Vereinigte Zwietracht der wechselnden Saiten,” BWV 207

$26
proof of vaccination or negative test result & masks required
(540) 569-0267
http://stauntonmusicfestival.org

April 9 (8 p.m.)
April 10 (2 p.m.)
Center for the Arts, George Mason University, Fairfax
Virginia Opera
Adam Turner conducting

Mozart: “The Marriage of Figaro”
Erik Earl Larson (Figaro)
Alisa Jordheim (Susanna)
Symone Harcum (Countess Almaviva)
Richard Ollarsaba (Count Almaviva)
Lauren Cook (Cherubino)
Whitney Robinson (Marcellina)
Jason Ferrante (Basilio/Don Curzio)
Eric J. McConnell (Bartolo)
Catherine Goode (Barbarina)
Chauncey Blade (Antonio)
Kyle Lang, stage director

in Italian, English captions
$45-$115
proof of vaccination or negative test result, photo ID & masks required
(703) 993-2787
http://cfa.gmu.edu

April 9 (7:30 p.m.)
Capital One Hall, 7750 Capital One Tower Road, Tysons
McLean Symphony
Dingwall Fleary conducting

Nikita Wells: “Creatures of Darkness and Light (A Draculean Tone Poem)” (premiere)
Edward MacDowell: Piano Concerto No. 2 in D minor
Carlos Alberto Ibay, piano
Florence Price: Symphony No. 3 in C minor
$50
proof of vaccination, photo ID & masks required
(800) 653-8000 (Ticketmaster)
http://capitalonehall.com/events

April 10 (3 p.m.)
River Road Church, Baptist, River and Ridge roads, Richmond
University of Richmond Schola Cantorum & Women’s Chorale
Jeffrey Riehl directing

Dan Forrest: “Requiem for the Living”
free; ticket reservations required
masks recommended
(804) 288-1131
http://rrcb.org/e-carl-freeman-concert-series/

April 10 (7 p.m.)
Second Calvary Baptist Church, 2940 Corprew Ave., Norfolk
Virginia Symphony Orchestra
Benjamin Rous conducting
Norfolk State University Vocal Jazz
Kearston Gonzales, violin
Stephanie Sanders, saxophone

“A Tribute to Martin Luther King Jr.”
program TBA

free
masks recommended
(757) 892-6366
http://virginiasymphony.org

April 10 (3:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
UVa Chamber Music Series:
artists TBA
program TBA
$15
masks recommended
(434) 924-3376
http://music.virginia.edu/events

April 10 (11 a.m.)
Great Hall at the Blackburn Inn, 106 Village Drive, Staunton
Staunton Music Festival:
Martin Davids & Aisslinn Nosky, violins
Jason Fisher, viola
Michael Utterman, cello
Margaret Owens & Sharon Schilling, oboes
Keith Collins, bassoon
Kris Kwapis & Bruno Lourensetto, trumpets
David Schrader, organ
Adam Cockerham, lute
I-Jen Fang, percussion
Molly Netter, soprano
Clifton Massey, countertenor
Brian Giebler, tenor
Paul Max Tipton, bass-baritone

Purcell: “Ode to St. Cecilia” (excerpts)
Gottfried Finger: Violin Sonata in E major
Purcell: “Music for a while”
John Eccles: “Cease of Cupid to complain”
Purcell: “King Arthur” – “Your Hay, it is mow’d;” “Fairest Isle;” Act 5 Trumpet Tune and Chorus

$20
proof of vaccination or negative test result & masks required
(540) 569-0267
http://stauntonmusicfestival.org

April 10 (4 p.m.)
First Presbyterian Church, 100 E. Frederick St., Staunton
Staunton Music Festival:
Carsten Schmidt conducting
Jacob Ashworth, Martin Davids, Chloe Fedor, Ingrid Matthews & Aisslinn Nosky, violins
Sarah Darling, Jason Fisher & Gesa Kordes, violas
Michael Unterman & James Wilson, cellos
Heather Miller Lardin, double-bass
Margaret Owens & Sharon Schilling, oboes
Keith Collins, bassoon
Kris Kwapis & Bruno Lourensetto, trumpets
Adam Cockerham, lute
Mark Shuldiner, harpsichord
David Schrader, organ
I-Jen Fang, percussion
Amy Nicole Broadbent & Molly Netter, sopranos
Angela Young Smucker, mezzo-soprano
Clifton Massey, countertenor
Brian Giebler & Corey Shotwell, tenors
Edmund Milly & Paul Max Tipton, bass-baritones

Louis-Nicolas Clérambault: “La muse de l’opera” (excerpts)
Louis Couperin: Prelude in A major
François Couperin: Allemande
for two harpsichords
Rameau: Tambourin
Denis Gaultier: “Tombeau de Mezangeau”
Michel Lambert: “Ah! Qui Voudra”
Lambert: “Je sui aime”
Rameau: “La Cupis”
Rameau: “La Marais”
Jean-Henri D’Anglebert: Prelude in G minor
Lully: “Armide” – Passacaille
Marc-Antoine Charpentier: Te Deum

$26
“The French Baroque,” introductory lecture by Jon Gibson, with lunch, 12:30 p.m., Gallery 1828, Blackburn Inn ($40)
proof of vaccination or negative test result & masks required
(540) 569-0267
http://stauntonmusicfestival.org

April 10 (2 p.m.)
Terrace Theater, Kennedy Center, Washington
Kennedy Center Chamber Players
Mozart: Divertimento in B flat major, K. 254
Shostakovich: “Seven Romances on Poems by Alexander Blok”
Schubert: “Bei mir gegrüsst”

Anaïs Naharro-Murphy, soprano
Schubert: Fantasy in C major, D. 934
$36
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 10 (7 p.m.)
Kennedy Center Concert Hall, Washington
Washington Performing Arts Gospel Choirs
Michele Fowlin & Theodore Thorpe III directing
Choral Arts Society of Washington
Scott Tucker directing

“Living the Dream . . . Singing the Dream”
Timothy Wright: “Come Thou Almighty King”
A. Lela Anderson: “I Opened My Mouth to the Lord”
Derrick Hall: “You’re the Lifter”
trad.: “My Soul’s Been Anchored”
(Moses Hogan arrangement)
Tim Godfrey: “Onaga”
Gail Jones Murphy: “Why Do We Sing?”
B.E. Boykin: “Stand up for What’s Right”
trad.: “Didn’t It Rain?”
(Donald E. Dillard arrangement)
Nolan Williams Jr.: “We are the ones to heal our land”
Ralph Herndon: “Work While It’s a Day”

$25-$75
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 11 (7 p.m.)
Episcopal Church of the Holy Comforter, Monument Avenue at Staples Mill Road, Richmond
Chamber Music Society of Central Virginia:
period-instruments orchestra
soloists TBA
“A Baroque Spring”
works TBA by Vivaldi, Pachelbel, Johann Friedrich Fasch, Johann Georg Pisendel

$30
masks required
(804) 304-6312
http://cmscva.org

April 11 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
UR Wind Ensemble
Steven Barton directing

works TBA by Barton, Bernstein, William Schuman, Jack Stamp, Vasily Kalinnikov, Leroy Anderson
free; ticket reservations required
masks required
(804) 289-8980
http://modlin.richmond.edu

April 11 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Young Concert Artists:
Megan Moore, mezzo-soprano
pianist TBA
Handel: “Lucretia”
Rued Langgaard: “Danish Songs”
works TBA by Schubert, Undine Smith Moore, Cécile Chaminade, Tariq al-Sabir, Emily Cooley, Travis Reynolds, Joel David Balzun

$20-$40
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 12 (7 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Commonwealth Singers
Choral Arts Society
Vocal Chamber Ensembles
Erin Freeman & Lisa Fusco directing

program TBA
free
masks recommended
(804) 828-1169
http://arts.vcu.edu/events

April 12 (7:30 p.m.)
Perry Pavilion, Charlotte and Bank streets, Norfolk
Virginia Arts Festival:
Akropolis Reed Quintet
Poulenc: “Les biches”/Irving Berlin: “Blue Skies” Suite (Daniel Schlosberg arrangement)
Jeff Scott: “Homage to Paradise Valley”
Nina Simone: “For All We Know”
(Jelte Althuis arrangement)
Gershwin: “An American in Paris” (Raaf Hekkema arrangement)
$35
masks recommended
(757) 282-2822
http://vafest.org

April 13 (7:30 p.m.)
Perkinson Recital Hall, North Court, University of Richmond
Lisa Terry, viola da gamba
Joanne Kong, harpsichord

J.S. Bach: “The Well-Tempered Clavier,” Book 1 (excerpts)
works TBA by J.S. Bach, Telemann, Chwatal, Susan Matsui

free; tickets required
masks required
(804) 289-8980
http://modlin.richmond.edu

April 13 (7:30 p.m.)
Hixon Theater, Barr Education Center, 440 Bank St., Norfolk
Virginia Arts Festival:
Yamandu Costa, classical guitar
Richard Scofano, bandoneón

Latin-American works TBA
$35
masks recommended
(757) 282-2822
http://vafest.org

April 14 (8 p.m.)
Sixth & I Historic Synagogue, 600 I St. NW, Washington
Zakir Hussain, tabla
Jayanthi Kumaresh, veena
Kala Ramnath, Carnatic violin

Indian classical program TBA
$40
proof of vaccination, photo ID & masks required
(202) 785-9727 (Washington Performing Arts)
http://washingtonperformingarts.org

April 15 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
Virginia Gentlemen
annual Spring Classic Concert
program TBA

$10
masks recommended
(434) 924-3376
http://music.virginia.edu/events

April 16 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
UVa Percussion Ensemble
I-Jen Fang directing
Gregory Beyer, percussion

Beyer: “fios e linhas”
other works TBA

$10
masks recommended
(434) 924-3376
http://music.virginia.edu/events

April 16 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
National Philharmonic
Piotr Gajewski conducting

Mozart: Piano Concerto No. 13 in C major, K. 415
Aldo López-Gavilán, piano
Mahler: Symphony No. 5 in C sharp minor
$61-$89
proof of vaccination & masks required
(301) 581-5100
http://strathmore.org

April 17 (8 p.m.)
Gallery 5, 200 W. Marshall St., Richmond
Classical Revolution RVA:
artists TBA
program TBA
donation requested
masks recommended
(804) 678-8863
http://classicalrevolutionrva.com/events

April 18 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
UR Chamber Ensembles
program TBA
free; tickets required
masks required
(804) 289-8980
http://modlin.richmond.edu

April 19 (10:30 a.m.)
Miller Studio, Sandler Arts Center, 201 S. Market St., Virginia Beach
Virginia Arts Festival:
Danish String Quartet
Purcell: Chacony in G minor
Britten: “Three Divertimenti”
folk-song arrangements TBA

$20
masks recommended
(757) 282-2822
http://vafest.org

April 19 (7:30 p.m.)
Hixon Theater, Barr Education Center, 440 Bank St., Norfolk
Virginia Arts Festival:
Danish String Quartet
Schumann: Quartet in A major, Op. 41, No. 3
Schubert: Quartet in D minor, D. 810 (“Death and the Maiden”)
“Dance Suite” (works TBA by John Adams, Marc-Antoine Charpentier, Felix Blumenfeld)

$35
masks recommended
(757) 282-2822
http://vafest.org

April 19 (7:30 p.m.)
Moss Arts Center, Virginia Tech, 190 Alumni Mall, Blacksburg
Sarah Chang, violin
Sonya Ovrutsky Fensome, piano

Franck: Violin Sonata in A major
Brahms: violin sonata TBA
Bartók: “Romanian Folk Dances”

$20-$45
masks required
(540) 231-5100
http://artscenter.vt.edu/performances

April 19 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra Pops
Andrew Lipke conducting
Amos Lee, guest star

program TBA
$29-$109
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 20 (7 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Symphonic Wind Ensemble
Terry Austin directing
University Band
Duane Costen directing
Justin Alexander, percussion

program TBA
free
live online stream accessible via http://go.vcu.edu/concerthall
masks recommended
(804) 828-1169
http://arts.vcu.edu/events

April 20 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Post-Classical Ensemble
Angel Gil-Ordóñez conducting

“Mahler Fourth: a Wicked New Look”
Mahler: Symphony No. 1 in D major – III: Funeral March
(chamber arrangement by Angel Gil-Ordóñez)
Mahler: “Lieder eines fahrenden Gesellen” – “Wenn mein Schatz Hochzeit macht” (chamber arrangement by Angel Gil-Ordóñez)
David Taylor, bass trombone
Mahler: Symphony No. 4 in G major (chamber arrangement by Klaus Simon)
Madeleine Murnick, soprano
$45
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 20 (7:30 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Orchestra of Terezín Remembrance
Murry Sidlin conducting

“Defiant Requiem: Verdi at Terezín”
Verdi: Requiem

Jennifer Check, soprano
Ann McMahon Quintero, mezzo-soprano
Cooper Nolan, tenor
Nathan Stark, bass-baritone
American University Chamber Singers
The Catholic University of America Verdi Choir
Longwood University Camerata & Chamber Singers
University of Virginia Chamber Singers
Virginia Commonwealth University Commonwealth Singers
Virginia State University Concert Choir

$35-$115
proof of vaccination & masks required
(301) 581-5100
http://strathmore.org

April 21 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Fortas Chamber Music Concerts:
Takács Quartet
Julien Labro, bandoneón

Bryce Dessner: “Circles”
Clarice Assad: “Clash”
Ravel: Quartet in F major
other works TBA

$45
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 21 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Kronos Quartet
“A Thousand Thoughts”
works TBA by Philip Glass, Terry Riley, George Crumb, John Adams, Laurie Anderson, Tanya Tagaq, Aleksandra Vrebalov

$38-$78
proof of vaccination & masks required
(301) 581-5100
http://strathmore.org

April 22 (7:30 p.m.)
Salem Civic Center, 1001 Roanoke Boulevard
Roanoke Symphony Pops
David Stewart Wiley conducting
Jay White, guest star

“Sweet Caroline: the Music of Neil Diamond”
$31-$56
masks recommended
(540) 343-9127
http://rso.com

April 23 (8 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets, Richmond
Richmond Symphony Pops
Daniel Myssyk conducting
Rex Richardson, trumpet

works TBA by Duke Ellington & Billy Strayhorn
$10-$82
masks recommended
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

April 23 (8 p.m.)
Center for the Arts, George Mason University, Fairfax
Fairfax Symphony Orchestra
Christopher Zimmerman conducting

Robert Carl: “White Heron”
Mozart: Piano Concerto No. 23 in A major, K. 488

Simone Dinnerstein, piano
Rachmaninoff: Symphony No. 2 in E minor
$40-$65
proof of vaccination or negative test result, photo ID & masks required
(703) 993-2787
http://cfa.gmu.edu

April 23 (8 p.m.)
Capital One Hall, 7750 Capital One Tower Road, Tysons
Virginia Chamber Orchestra
David Grandis conducting

William Grant Still: “From the Black Belt” – “Brown Girl”
Schubert: Overture in D major, D. 556
Beethoven: Symphony No. 2 in D major

$25-$45
masks recommended
(800) 653-8000 (Ticketmaster)
http://capitalonehall.com/events

April 24 (4 p.m.)
Anderson-Turner Auditorium, Virginia State University, Ettrick
Petersburg Symphony Orchestra
Naima Burrs conducting

Jasmine Arielle Barnes: “Before Dawn”
Dvořák: Symphony No. 9 in E minor (“From the New World”)

$20
masks required
(804) 732-0999
http://petersburgsymphony.org

April 24 (2:30 p.m.)
Chrysler Hall, 215 St. Paul’s Boulevard, Norfolk
Virginia Arts Festival:
Yo-Yo Ma, cello
Kathryn Stott, piano

program TBA
$48.75-$100
masks recommended
(757) 282-2822
http://vafest.org

April 24 (7 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Joyce Didonato, mezzo-soprano
Il Pomo d’Oro

Ives: “The Unanswered Question”
Rachel Portman: “The First Morning of the World”
Mahler: “Rückert-Lieder” – II: “Ich atmet’ einen linden Duft!”
Biago Marini: Scherzi e canzone, Op. 5 – III: “Con le stelle in Ciel che mai”
Josef Myslivecek: “Adamo ed Eva” – “Toglierò le sponde al mare”
Copland: “Eight Poems of Emily Dickinson” – I: “Nature, the gentlest mother”
Giovanni Valentini: Sonata “Enharmonica”
Francesco Cavalli: “La Calisto” – “Piante ombrose”
Gluck: “Orfeo ed Euridice” – “Dance of the Furies;” “Misera, dove son;” “Ah! non son io che parlo”
Handel: “Theodora” – “As with rosy steps the morn”
Mahler: “Rückert-Lieder” – III: “Ich bin der Welt abhanden gekommen”
Wagner: “5 Gedichte für eine Frauenstimme” – IV. “Schmerzen”
Handel: “Serse” – “Frondi tenere e belle;” “Ombra mai fu”

$30-$90
proof of vaccination, photo ID & masks required
(202) 785-9727 (Washington Performing Arts)
http://washingtonperformingarts.org

April 25 (10:30 a.m.)
St. John’s Episcopal Church, 424 Washington St., Portsmouth
Virginia Arts Festival:
Jerusalem String Quartet
Haydn: Quartet in F minor, Op. 20, No. 5
Beethoven: Quartet in C major, Op. 59, No. 3 (“Razumovsky”)

$20
masks recommended
(757) 282-2822
http://vafest.org

April 25 (7:30 p.m.)
Hixon Theater, Barr Education Center, 440 Bank St., Norfolk
Virginia Arts Festival:
Jerusalem String Quartet
Mendelssohn: Quartet in E minor, Op. 44, No. 2
Webern: “Langsammer Satz”
Tchaikovsky: Quartet in D major, Op. 11

$35
masks recommended
(757) 282-2822
http://vafest.org

April 26 (7:30 p.m.)
Chrysler Hall, 215 St. Paul’s Boulevard, Norfolk
April 27 (7:30 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
Virginia Symphony Orchestra Pops
conductor TBA
Teri Hansen, Ali Ewoldt & Sean MacLaughlin, guest stars
“Golden Age of Broadway”
works TBA by Bernstein, Cole Porter, Lerner & Loewe, Rodgers & Hammerstein

$25-$110
masks recommended
(757) 892-6366
http://virginiasymphony.org

April 27 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Fortas Chamber Music Concerts:
The Tallis Scholars
Peter Phillips directing

Antoine Brumel: “Missa et ecce terrae motus” (“Earthquake Mass”)
David Lang: “sun-centered”
(premiere)
$60
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 28 (7:30 p.m.)
Epiphany Lutheran Church, Monument Avenue at Horsepen Road, Richmond
Richmond Symphony Chamber Chorus
Erin Freeman directing

accompanist TBA
Ellington: “Come Sunday”
Caroline Shaw: “And the Swallow”
Barber: “Sure on This Shining Night”
Ken Burton: “Rest”
Oliver Tarney: “The Waiting Sky”
Roderick Williams: “O Guiding Night”
Jake Runestad: “A Silence Haunts Me”
trad.: “I’m Gonna Sing”
(Moses Hogan arrangement)
trad.: “Deep River” (Moses Hogan arrangement)
trad.: “Unclouded Day” (Shawn Kirschner arrangement)
$22
masks recommended
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

April 28 (7:30 p.m.)
Moss Arts Center, Virginia Tech, 190 Alumni Mall, Blacksburg
The Tallis Scholars
Peter Phillips directing

Antoine Brumel: “Missa et ecce terrae motus” (“Earthquake Mass”)
David Lang: “sun-centered”
(premiere)
$40-$55
masks required
(540) 231-5300
http://artscenter.vt.edu/performances

April 29 (7 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Opera
VCU Symphony
Daniel Myssyk conducting

Mozart: “The Impresario”
Menotti: “The Old Maid and the Thief”

casts TBA
free
live online stream accessible via http://go.vcu.edu/concerthall
masks recommended
(804) 828-1169
http://arts.vcu.edu/events

April 29 (7:30 p.m.)
Perkinson Arts Center, 11801 Centre St., Chester
May 1 (3 p.m.)
Blackwell Auditorium, Randolph-Macon College, 205 Henry St., Ashland
Richmond Symphony
Nicholas Hersh conducting

Haydn: Symphony No. 60 in C major (“Il Distratto”)
Mozart: Bassoon Concerto in B flat major, K. 191

Thomas Schneider, bassoon
Anna Clyne: “Sound and Fury”
Ginastera: “Variaciones concertantes”

$22.50
masks recommended
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

April 29 (7:30 p.m.)
Ginter Park Presbyterian Church, Seminary and Walton avenues, Richmond
Richmond chapter, American Guild of Organists’ Repertoire Recital Series:
Amanda Mole, organ
Mendelssohn: “St. Paul” Overture (transcription by William T. Best)
Schumann: “Six Pieces in Canonic Form” –Innig
Mozart: Fantasia in F minor, K. 608
J.S. Bach: Prelude and Fugue in D major, BWV 532
Jehan Alain: Fantaisie No. 2
Nico Muhly: “The Revd Mustard his Installation Prelude”
Calvin Hampton: “Five Dances for Organ” – I: “The Primitives;” II. “At the ballet;” V: “Everyone dance”

donation requested
masks recommended
(804) 359-5049
http://richmondago.org

April 29 (7:30 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
Virginia Symphony Orchestra
Thomas Wilkins conducting

Carlos Simon: “Fate Now Conquers”
Haydn: Cello Concerto No. 2 in D major

Sterling Elliott, cello
Beethoven: Symphony No. 3 in E flat major (“Eroica”)
$25-$81
masks recommended
(757) 892-6366
http://virginiasymphony.org

April 29 (8 p.m.)
St. Thomas Aquinas Catholic Church, 401 Alderman Road, Charlottesville
University Singers
Oratorio Society of Virginia
Michael Slon directing

Rachmaninoff: “All-Night Vespers”
$27-$37
masks recommended
(434) 924-3376
http://oratoriosociety.org

April 30 (2 p.m.)
Gellman Room, Richmond Public Library, First and Franklin streets
Eliot Norman & Russell Wilson, pianos
Arden Clark & Andrew Certner, violins
Becca Longhenry, viola
Christina Jennings, cello
Ayca Kartari, double-bass
Harry Wise, trumpet

Saint-Saëns: Septet in E flat major, Op. 65
works TBA by J.S. Bach, Mozart, Chopin, Brahms

free
masks required
(804) 646-7223
http://rvalibrary.org

April 30 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Baltimore Symphony Orchestra
Kirill Karabits conducting

Stravinsky: “Symphony in Three Movements”
Conrad Tao: Violin Concerto

Stefan Jackiw, violin
Rachmaninoff: Symphony No. 3 in A minor
$35-$90
proof of vaccination & masks required
(301) 581-5100
http://strathmore.org

May 1 (2:30 p.m.)
River Road Church, Baptist, River and Ridge roads, Richmond
John Tibbetts, baritone
Raymond Chenault, piano

program TBA
free; ticket reservation required
masks recommended
(804) 288-1131
http://rrcb.org/e-carl-freeman-concert-series/

May 5 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Baltimore Symphony Orchestra
Christian Reif conducting

Heinz Werner Henze: “The Bassarids” – “Mänadentanz”
Mozart: Symphony No. 39 in E flat major, K. 543
Jessie Montgomery: Piano Concerto

Awadagin Pratt, piano
Richard Strauss: “Der Rosenkavalier” Suite
$35-$90
proof of vaccination & masks required
(301) 581-5100
http://strathmore.org

May 6 (7:30 p.m.)
Cathedral of the Sacred Heart, Laurel Street at Floyd Avenue, Richmond
Cathedral Schola Cantorum
Three Notch’d Road: the Virginia Baroque Ensemble
Daniel Sañez conducting

J.S. Bach: Mass in B minor
free; ticket registration required via http://eventbrite.com
masks recommended
(804) 359-5651
http://richmondcathedral.org/concerts/

May 6 (8 p.m.)
May 7 (2 & 7 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra Pops
Steven Reineke conducting
Christy Altomare, Susan Egan, Courtney Reed, Syndee Winters & Adam J. Levy, guest stars

“Disney Princess – the Concert”
$29-$99
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

May 7 (11 a.m.)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets, Richmond
Richmond Symphony LolliPops
Chia-Hsuan Lin conducting
Really Inventive Stuff’s Michael Boudewyns, narrator

Prokofiev: “Peter and the Wolf”
$10-$20
masks recommended
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

May 7 (3:30 p.m.)
Marburg House, 3102 Bute Lane, Richmond
Belvedere Series:
Karen Johnson, violin
Danielle Wiebe Burke, viola
Schuyler Slack, cello
Ingrid Keller, piano

“Rückblick”
John Corigliano: “Fancy on a Bach Air”
Bohuslav Martinů: Viola Sonata
Brahms: Piano Quartet in C minor, Op. 60

$30
masks required
(540) 604-0689 (Marburg House)
http://belvedereseries.org

May 7 (4 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets, Richmond
Richmond Symphony Youth Orchestra
Daniel Myssyk conducting
Youth Concert Orchestra
Sandy Goldie conducting
String Sinfonietta
Christie-Jo Adams conducting
Camerata Strings
Melissa Jones conducting
Samantha & Sungu Flottman, violins

program TBA
free
masks recommended
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

May 7 (7:30 p.m.)
Berglund Performing Arts Theatre, Orange Avenue at Williamson Road, Roanoke
Roanoke Symphony Orchestra
David Stewart Wiley conducting

Arthur Benjamin: “Jamaican Rhumba”
Brahms: Double Concerto in A minor

Akemi Takayama, violin
Zuill Bailey, cello

Dvořák: Symphony No. 9 in E minor (“From the New World”)
$34-$56
masks recommended
(540) 343-9127
http://rso.com

May 7 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
National Philharmonic
Piotr Gajewski conducting

Chopin: “Fantasia on Polish Airs”
Chopin: “Rondo à la krakowiak”

Brian Ganz, piano
Henryk Górecki: Symphony No. 3 (“Symphony of Sorrowful Songs”)
Aleksandra Kurzak, soprano
$64-$89
proof of vaccination & masks required
(301) 581-5100
http://strathmore.org

Diva backs away from dictator

Updated

Anna Netrebko, the Russian soprano whose public ambivalence over Vladimir Putin’s invasion of Ukraine left her international career in limbo, has gingerly joined the resistance.

“I am not a member of any political party nor am I allied with any leader of Russia,” Netrebko said in a social-media post. “I expressly condemn the war on Ukraine and my thoughts are with the victims of this war and their families.”

The singer “did not explicitly criticize Mr. Putin, and did not directly address her previous record of support for him,” The New York Times’ Javier C. Hernández reports, recalling that Netrebko “once endorsed Mr. Putin’s re-election and has over the years offered support for his leadership. In 2014, she was photographed holding a flag used by Russia-backed separatists in Ukraine.”

New York’s Metropolitan Opera, which has frequently engaged Netrebko, deems her latest disclaimer insufficient. The company’s general manager, Peter Gelb, said in a statement: “If Anna demonstrates that she has truly and completely disassociated herself from Putin over the long term, I would be willing to have a conversation.”

Netrebko, who in previous comments has characterized herself as a patriotic Russian, notes in her latest posting that she is a “tax resident in Austria.” She said that she plans to resume work in Europe in May, Hernández reports:

UPDATE (April 1): Norman Lebrecht, on his Slipped Disc blog, reports that the State Opera and Ballet Theatre in Novosibirsk, Siberia, has canceled a concert by Netrebko scheduled for June, citing her “statement condemning the actions of our state. Living in Europe and the opportunity to perform at European venues turned out to be more important for her than the fate of the Motherland.

“Today is not the time to sacrifice principles for more comfortable living conditions. Now is the time to make a choice.”

Lebrecht cautions: “[T]his announcement may not be what it seems. It could be that friends in Russia are seeking to revive Netrebko’s career abroad by pretending she is non grata at home. It could also be a warning to her from powerful friends to tone down her public statements.”

Just in: Anna Netrebko is cancelled in Russia

Russophobia: Symptoms and treatment

Updated

A few weeks ago, I wrote that taking a break from Russian music while Vladimir Putin makes war on Ukraine wouldn’t leave me feeling culturally malnourished. I might have added that there aren’t too many living Russian performers whose temporary absence from the stage would leave too gaping a void in classical music.

I was of two minds on the question then. I’m down now to about one and an eighth.

Since Putin launched his onslaught, orchestras in Wales and Japan have dropped Tchaikovsky’s “1812 Overture” from concert programs; several presenters in Canada canceled dates with a young Russian pianist; a Polish opera house scrapped a production of Mussorgsky’s “Boris Godunov;” several Russian conductors have quit or been ousted from orchestras and opera companies, both in the West and at home.

Everybody’s wearing lapel ribbons in blue and yellow, the Ukrainian national colors, and every ensemble in the civilized world that can find the score and learn the words is performing the country’s national anthem.

All gestures, most no doubt heartfelt. Some are appropriate: This is a really bad time to play Tchaikovsky’s paean to Russian military triumph. Some other gestures – treating a 20-year-old pianist as if he’s a surrogate for a genocidal tyrant – are not just silly but gratuitously self-righteous.

Over the weekend, the Berlin Philharmonic staged a concert “for peace and freedom.” The program included works by the Ukrainian composer Valentin Silvestrov (currently a refugee in Berlin), along with music by Chopin, Shostakovich and Tchaikovsky. Ukraine’s ambassador to Germany did not attend, protesting that the concert’s featured soloists were “only Russians. No Ukrainians. An affront. . . . [W]e Ukrainians don’t fancy ‘great Russian culture’ while Russian bombs are falling on cities and thousands of civilians are being murdered . . . ”

An understandable sentiment; but the ambassador overlooked the fact that Russian artists were performing in support of Ukraine. And he lent credence to Putin’s bogus assertion that the West is “canceling” Russian culture.


Cultural Russophobia stumbles over history. Putin is grossly opportunistic but not entirely wrong to claim that Russians and Ukrainians are the same people. Ukrainian President Volodymyr Zelenskyy wouldn’t say that; but he could, just as credibly. The two nations are family – cousins, not siblings – and were kin long before either began to resemble a modern state.

Since Ukraine was absorbed by tsarist, and then Soviet, Russia, its people have been scattered all over Eurasia. Ukrainians moved to Moscow, St. Petersburg and other Russian cities for education, employment, favor and advancement under the ruling regime. In the 1930s, after killing millions of Ukrainians in an engineered famine, Josef Stalin exiled hundreds of thousands of the survivors to Central Asia and Siberia.

Millions of Ukrainians and Russians are blood relatives, and have been for generations. Ethnically “pure” Russians and Ukrainians are as scarce as purely Anglo-Saxon Americans.

Can kindred people form separate nations? Ask the French and Germans, descendants of Frankish cousins in the early Middle Ages. (While you’re at it, ask them about the consequences of invasion and rewards of peaceful coexistence.)

As to Russian music, take a cursory look at the greats commonly identified as Russian: Tchaikovsky was of partly Ukrainian ancestry. Prokofiev was born in the Donetsk oblast, one of the eastern Ukrainian regions seized by Putin in 2014 and now used as a pretext for this war. Violinists David Oistrakh and Nathan Milstein, pianists Sviatoslav Richter and Emil Gilels, came from Odessa, Ukraine’s Black Sea port city. The list could go on and on.

And it probably will grow. Right now, I’ll bet, a lot of Russian artists hoping for future work in the West are scouring family trees to find ancestors in Ukraine, Poland, Lithuania, Moldova, Armenia, Kazakhstan – wherever – hoping to shield themselves from the stench of Putin’s Russia.


Music can do many things to the human soul and psyche. It can summon us to battle. It can salve our wounds. It can comfort or enrapture or horrify. It’s complicated.

Russian music is especially complicated: How we hear it depends on what we’re listening for, on how closely we listen, and – remembering this land’s tumultuous history – on the circumstances under which the music was composed.

We should judge this music – and the musicians who perform it – without haste, preferably with some discernment.

We can easily discard the likes of Valery Gergiev, the conductor and high-profile Putin crony. (Keep a horselaugh in reserve in case he tries to resuscitate his career in the West by claiming to be Ossetian.)

Like Cold-War Kremlinologists, we can observe what’s said or not, who’s seen or not, when we consider Russian artists in Russia, remembering that they could face imprisonment or worse if they speak out against Putin and his war. The same for Russians in the West who aren’t ready to become émigrés, potential targets of Putin’s thugs.

We can dispense with overtly aggressive or ideologically driven Russian music. Most of it is trash.

Some of it, however, is unexpectedly untrashy. The Richmond Symphony audience was reminded of that a few days after Putin started his war, when the orchestra played Shostakovich’s Fifth Symphony. Interpretations of this work by many Soviet-era musicians gave it a branding of Stalinist triumphalism; but the music itself, beneath its bombastic episodes, is dark and somber, at times achingly tragic. It’s Russian music that deserves to be heard, even now – especially now.


Identifiably Russian classical music (other than Orthodox liturgical music) was born in the early 19th century. Some of that century’s best Russian composers were schooled sketchily, at best, in the forms and affects of European classical style. The European music of their time was romantic, more about feeling than form. Not surprisingly, we hear more heart and gut than brain in a lot of 19th-century Russian music.

Over the past century, Russian music has become more brainy and abstract (the Stalinists called it “formalist”); but much of it still comes from the heart and gut.

A great deal of it is deeply introspective, some of it otherworldly, the work of artists trying to find a safe, or at least less fraught, space in an oppressive real world. (That also may explain why so many Russian pianists excel in Bach.)

Like many other composers from Northern Europe, Russians have delighted in the warmth, color, exoticism and energy of warmer climes – the Mediterranean, Africa, Asia. Much of the best Russian music, from Glinka’s “Jota Aragonesa” and Tchaikovsky’s “Souvenir de Florence” to Rimsky-Korsakov’s “Scheherazade” and Borodin’s “Polovtsian Dances,” evokes places far from home.

Then there are the Russian composers who left the country and settled in the West. They russified the sound and style of music in Western Europe and America; in time, their music also was influenced by those Western cultures. Stravinsky’s “Dumbarton Oaks” Concerto and Rachmaninoff’s Symphonic Dances are works by composers born in Russia; but they were, lingering old-country accents notwithstanding, products of mid-20th century America.

There’s Russian music that speaks explicitly of Russia, affectionately or not. There’s music by Russians abroad who are audibly homesick. There’s music by widely traveled Russians who embraced and enriched other cultures. And there’s music by Russians who don’t believe that music should be hemmed in by national origin.

Like I said, it’s complicated.


Some of the most potent musical repudiations of Putin, and the corruption, repression and violence that he embodies, are the work of Russians.

Another Shostakovich symphony, his Tenth, is as powerful an indictment of this war criminal as any words that may be spoken at a tribunal. And estranged Russians, at home and abroad, may turn out be the most eloquent musical advocates for the resurrection of Ukraine and redemption of Russia.

Don’t ban Russian music or righteous Russian musicians. Turn them on the enemy.

UPDATE (April 4): The news, with ghastly images, of murders committed by Russian troops in towns they occupied near Kyiv tempts me to conclude that Russian “culture” should be confined to a tightly lidded Petri dish. In my parents’ time, people wondered how Germany could produce Bach and Goethe, and then elevate Hitler. Today, civilized people wonder: How can Russia, homeland of Tolstoy and Shostakovich, tolerate – even celebrate – Putin? The bloodstain is spreading; washing it out will take generations.

Review: Richmond Symphony

Valentina Peleggi conducting
with Magdalena Kuźma, soprano
March 26, Ryan Recital Hall, St. Christopher’s School

Gustav Mahler’s Symphony No. 4 in G major is the shortest and smallest of his nine symphonies. Short and small are relative terms: The piece lasts nearly an hour and is scored for a more or less standard (i.e., pretty large) orchestra of the late-romantic period.

There are, however, versions of the Mahler Fourth that are truly small. There’s a somewhat convoluted back-story to their existence.

A century ago, Vienna was the European cultural center most resistant to new trends in music. It was also home to a group of composers, led by Arnold Schoenberg, who produced some of the most radically new music of the time. Getting no love from the city’s musical establishment, they organized the Society for Private Musical Performances, which presented programs of contemporary works (their own and others’), including many chamber arrangements of orchestral pieces.

Among the most ambitious of these reductions was a Mahler Fourth, prepared by Erwin Stein in 1920, for string quintet, woodwinds, piano, harmonium and percussion, along with the soprano who sings “Das himmlische Leben” (“Heavenly Life”) from Mahler’s song collection “Des Knaben Wunderhorn” (“The Youth’s Magic Horn”) in the final movement. Stein’s arrangement survives only in sketch form, from which several “reconstructions” have been crafted.

A version by the German pianist and conductor Klaus Simon, introduced in 2007, is being played this weekend by a chamber contingent of the Richmond Symphony.

The first of two performances was staged in St. Christopher’s School’s new Ryan Recital Hall, a 450-seat venue that’s physically suited to music-making on this scale. (The repeat will be in a larger space, Blackwell Auditorium of Randolph-Macon College in Ashland.)

Like many small-ish music rooms built recently, Ryan Hall has a bright, transparent acoustic that gives each instrument or voice its own sonic space. Every note (right or wrong) carries clearly, high pitches tend to stand out, and ensembles have to put extra effort into producing warm collective tone.

A 16-member symphony ensemble, led by Valentina Peleggi, the orchestra’s music director, had mixed success in coping with the hall’s acoustical character.

The string quintet, undergirded by an electronic version of a harmonium, consistently realized Mahler’s bucolic lyricism, the low strings playing with especially glowing warmth. The winds were more vividly colorful and atmospheric than they generally sound in the full orchestration; but they were also far more prominent, at times flat-out loud. Piano and percussion were gratifyingly subtle.

The soprano’s song in the symphony’s finale is meant to convey a child’s vision of heaven. This is a challenge, as few sopranos past teen-age sound child-like. (Some conductors – Leonard Bernstein, famously/notoriously – have tried giving the part to a boy soprano.) Magdalena Kuźma, the soprano in these concerts, sang like a woman who remembers being a girl with a wistful imagination, an agreeable reconciliation of character and tone.

The program repeats at 3 p.m. March 27 at Blackwell Auditorium, Randolph-Macon College, 205 Henry St., Ashland. Tickets: $22. Details: (800) 514-3849 (ETIX);
http://www.richmondsymphony.com

Putin punches the ‘cancel’ button

Vladimir Putin has taken time off from genocidal war-making to complain that the West is “canceling” Russian culture, and to tap his most high-profile cultural apparatchik, conductor Valery Gergiev, to take over a “common directorate” to operate the Mariinsky Theater in St. Petersburg and the Bolshoi Theater in Moscow.

Conductor Tugan Sokhiev quit his post as musical director of the Bolshoi earlier this month, and the theater’s director general, Vladimir Urin, crossed the dictator when he signed a public letter opposing Putin’s invasion of Ukraine. Gergiev has run the Mariinsky since 1988.

In a video conference with artists and cultural administrators, Putin said that “proverbial ‘cancel culture’ has become the cancellation of culture. . . . The names of Tchaikovsky, Shostakovich and Rachmaninoff are being removed from playbills. Russian writers and their books are being banned.”

In fact, most bans in the West have targeted artists such as Gergiev who have supported Putin or tried to rationalize refusals to denounce the invasion. Several ensembles called off performances of Tchaikovsky’s “1812 Overture” as inappropriate during a Russian-instigated war; and tour engagements of Russian orchestras and ballet troupes have been canceled, in line with other moves by democracies to economically isolate the country.

Evidence of bans of Russian music, literature and other art forms is sketchy to non-existent. The New York Times’ Anton Troianovski and Javier C. Hernández report that currently New York’s Metropolitan Opera is staging Tchaikovsky’s “Eugene Onegin,” while a number of US orchestras are presenting Russian programs and festivals. The 2022-23 seasons that have been announced to date show no significant reduction, let alone a boycott, of Russian repertory.

Individual acts of estrangement from things Russian can’t be quantified: We’ll never know how many liters of vodka have been poured down drains, or how many listeners decided today to listen to Debussy instead of Scriabin.

For Putin, “[w]hat’s most important right now is to indoctrinate his supporters,” Andrei Kolesnikov, a senior fellow at the Carnegie Moscow Center, told The Times. “Our cultural life is not ending, and we don’t need anything from the West.”

Review: Richmond Symphony

Valentina Peleggi conducting
with Daisuke Yamamoto, violin
March 19-20, Carpenter Theatre, Dominion Energy Center

(reviewed from online stream, posted March 23)

In the Richmond Symphony’s latest Masterworks program, “From Scotland’s Highlands,” all that was missing were . . . Scots.

So it usually goes. Most of the familiar classical works on Scottish themes have been composed by outsiders – in this case, two Germans, Felix Mendelssohn and Max Bruch, and the English-born Peter Maxwell Davies. (Davies was an adopted Scot, living on the Orkney Island of Sanday for the last 45 years of his life.)

Daisuke Yamamoto, the symphony’s concertmaster, was the soloist in Bruch’s “Scottish Fantasy,” a showpiece for violin virtuosos (written for Pablo de Sarasate) built on well-known folk tunes, most prominently “Through the Woods, Laddie,” its recurring theme, and “Scots Wha Hae” in the fantasy’s finale.

Yamamoto gave the work’s sonically brilliant fiddle figurations and Scottish rhythmic “snap” their due, but more constructively concentrated on Bruch’s free phrasing and coloristic shading of melodies. The violinist’s sound was bronze as often as silver; the moods he conveyed were more often contemplative or nostalgic than declarative.

Valentina Peleggi, the symphony’s music director, set a complementary tone in the orchestra’s accompaniment, managing along the way to bring some continuity to a piece that can sound like an episodic succession of orchestral pronouncements followed by violin elaborations.

Continuity more or less takes care of itself in Mendelssohn’s “Scottish” Symphony (No. 3 in A minor), one of the most perfectly constructed, no-notes-wasted, no-theme-undeveloped works in the orchestral literature. The only interpretive interventions it really needs are balancing of instrumental voicings and properly contrasting animation and songfulness in treatments of its tunes.

On those interpretive scores, Peleggi opted for high contrasts in voicings – solo and ensemble winds sounded more prominently than strings, at least in the audio stream of the performance – and generally fleet tempos.

That seems to be the current fashion in performances of early 19th-century works whose styles straddle the classical and the romantic. A classical approach can enhance some of this music (Franz Schubert’s early symphonies, for example); but in pieces like the Mendelssohn “Scottish” that are driven by evocative melodies and outdoorsy atmospherics, too brisk a pace effectively underplays the music. That’s what happened in this reading.

“An Orkney Wedding with Sunrise,” the most popular of Davies’ many Scottish-themed compositions, could be characterized as Scottish with generous shots of Scotch. The composer, a onetime “bad boy” of British musical modernism, liberally garnishes the piece with massed instrumental collisions – drunken brawls – alongside representations of folksy nuptials and the early morning after.

The work’s highlight comes at the end, when a bagpiper plays while pacing from the back of the hall to the stage. Robert Mitchell, the piper in this performance, brought both flair and gravitas to his cameo appearance.

The stream of the program remains accessible through June 30. Single-concert access: $30. Full Masterworks season access: $180. Details: (800) 514-3849 (ETIX); http://www.richmondsymphony.com

Virginia Opera 2022-23

In its 2022-23 season, Virginia Opera will bracket a contemporary opera, “Fellow Travelers” by Gregory Spears, with “The Valkyrie” (“Die Walküre”), the second installment of its ongoing Wagner “Ring” cycle, and two audience favorites, Verdi’s “La Traviata” and the Gilbert & Sullivan operetta “The Pirates of Penzance.”

Spears, a Virginia Beach native, introduced “Fellow Travelers” in 2016. Based on Thomas Mallow’s 2007 novel and set to a libretto by Greg Pierce, the opera relates the love story of two gay men working in Washington during the “lavender scare” of the 1950s, when homosexuals were purged from federal employment.

“The Valkyrie,” to be staged in an arrangement by Jonathan Dove, follows an adaptation of “Das Rheingold,” first of the “Ring” cycle of four music dramas, which launched the current season. Virginia Opera plans to continue with “Siegfried” in the 2023-24 season and the final installment of the cycle, “Götterdämmerung” (“Twilight of the Gods”), in 2024-25, the company’s 50th-anniversary season.

All four 2022-23 offerings will be conducted by Adam Turner, Virginia Opera’s artistic director, with members of the Virginia Symphony Orchestra in the first three productions and the Richmond Symphony in “La Traviata.” Casts and stage directors will be announced later.

Subscribers and donors will have access to a special concert by Will Liverman, the Virginia-born baritone who serves as Virginia Opera’s creative partner and advisor, with Turner as piano accompanist. The date of the concert will be announced later.

Subscription packages for performances at Norfolk’s Harrison Opera House are priced from $95.48 to $560; for performances at the Carpenter Theatre of Dominion Energy Center in Richmond, $85.80 to $492.52. Subscription prices will be announced later for performances at the Center for the Arts of George Mason University in Fairfax.

For details, call Virginia Opera’s box office at (866) 673-7282 or visit http://vaopera.org

Performance dates for the coming season:

– Wagner: “The Valkyrie” – Sept. 30, Oct. 1 and 2 in Norfolk; Oct. 8 and 9 in Fairfax; Oct. 14 and 16 in Richmond.

– Gilbert & Sullivan: “The Pirates of Penzance” – Nov. 4, 5 and 6 in Norfolk; Nov. 12 and 13 in Fairfax; Nov. 18 and 20 in Richmond.

– Spears: “Fellow Travelers” – Jan. 27, 28 and 29 in Norfolk; Feb. 4 and 5 in Fairfax; Feb. 10 and 12 in Richmond.

– Verdi: “La Traviata” – March 3, 4 and 5 in Norfolk; March 11 and 12 in Fairfax; March 17 and 19 in Richmond.

Kennedy Center renames Russian Lounge

The Russian Lounge at Washington’s Kennedy Center, a space for high-end donors and meetings, has been re-branded, apparently in response to Vladimir Putin’s invasion of Ukraine.

The space, located near the Kennedy Center Opera House, was renovated in 2011 with a $5 million gift from Vladimir Potanin, a Russian billionaire and international arts patron who has been linked to Putin. Potanin also was a trustee of the Solomon R. Guggenheim Foundation in New York until his resignation earlier this month.

Reporting for Politico, Tara Palmeri quotes Kennedy Center spokeswoman Eileen Andrews: “The naming period for the Lounge has now ended. Due to the tragedy in Ukraine, the Kennedy Center and the [Potanin] Foundation have mutually agreed to no longer use the name Russian Lounge.” The space has been renamed the Opera House Circles Lounge:

http://www.politico.com/news/2022/03/18/kennedy-center-quietly-ditches-its-russian-lounge-00018664