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Mozart

Hershey Felder: The Piano and Me

August 1, 2026

Famous pianist Hershey Felder has toured the world with his many shows about legendary composers from Chopin and Tchaikovsky to Gershwin and Irving Berlin giving over 6,000 performances. Now he has chosen to tell his own story from his upbringing in Montreal to the present and proves himself to be a consummate storyteller both on the piano and in words, incorporating the most famous piano show pieces of the last 250 years. Called "The Piano and Me," the show is riveting for both classical music aficionados as well as those unversed in anything other than pop music of today. Playing 16 people who were instrumental in his career, he brings them all to life for us. [more]

Alan Turing & The Queen of the Night

August 15, 2025

There’s a lot going on in this new musical about Alan Turing—and perhaps too much. In attempting to encompass the breadth of Turing’s extraordinary life, the production ends up overwhelmed by its own ambition. It is too long to sustain its narrative with somewhat underdeveloped characters, and too short to provide the necessary depth to the relationships that are meant to drive its emotional core. [more]

Mozart’s Don Giovanni: A Rock Opera

July 3, 2025

Ambition, that perilous double-edged sword, can elevate a work of art to soaring heights—or leave it flailing in the rafters, reaching desperately for resonance it cannot quite grasp. Such is the case with "Mozart’s Don Giovanni: A Rock Opera," Adam B. Levowitz’s audacious and heartfelt, if uneven, adaptation of Mozart’s canonical masterpiece. This leaner, louder take on "Don Giovanni," recognizing the latent synergy between operatic grandeur and rock bravado, now playing at The Cutting Room through August 26, replaces the classical orchestra with a ten-piece rock band and pares down the original three-hour-plus opera to a taut two hours and ten minutes. If only its dramatic momentum had received the same rigorous attention as its runtime. [more]

Alvin Ailey American Dance Theater: Winter 2024 Season

December 15, 2024

The second premiere was a battle of the sexes duet, “Me, Myself and You,” choreographed by Elizabeth Roxas-Dobrish to a Duke Ellington song, “In a Sentimental Mood” sung lustrously by Brandie Sutton. Caroline T. Dartey, in a long, silvery robe (costumes by Danté Baylor) rose from the floor and wandered beautifully towards a standing screen on the other side of the stage.  Once unfolded, the screen was revealed to be a three-part mirror which seemed to fascinate Dartey as she almost made love to her own image. [more]

Parsons Dance Company 2018

May 22, 2018

The new work, “Microburst,” was a quartet performed to classical Indian music composed and played live by Avirodh Sharma.  Brilliant and audacious, “Microburst” took the four dancers, all wearing black, fringed outfits—by Barbara Erin Delo— through complex rhythmic patterns that magically fit together as if the four were having a hyperkinetic conversation with their feet.  The agility of the four dancers—Geena Pacareu, Eoghan Dillon, Zoey Anderson and Justus Whitfield—was breathtaking and entertaining. [more]

American Classical Orchestra and Chorus: Cherubini, Beethoven and Mozart

November 24, 2017

The two soprano soloists were marvelous. Hélène Brunet combines supple lyricism with technical elegance. Clara Rottsolk’s voice is at once silvery and earthy, delicate and powerful. In their individual arias, both women committed to highly ornamented interpretations; both were able to make ornament feel like a spontaneous, unplanned and experimental development of ideas. In his conducting, Crawford gives his best singers – such as Brunet and Rottsolk – considerable room to make the music their own without ever losing coherence or the appropriate tempo. When singing together, as in “Domine Deus, Rex caelestis,” these sopranos’ voices were beautifully matched. [more]

American Classical Orchestra: “As the Masters Heard It, Music by Beethoven, Mozart and Schubert”

March 22, 2015

The pieces chosen by Crawford for this concert represented the very best of the Viennese Classical period: each piece in the evening's repertoire was a unique marriage of deep drama and expansive beauty. On this evening, the particular mission of the American Classical Orchestra – to play European masterpieces of orchestral music on period instruments – was brilliantly clear in both purpose and effect. Designed to enable audiences to hear what composers, their musicians and their audiences actually heard two or three centuries ago, this orchestra transported contemporary audiences back in time, revealing what the edginess and innovation of the past first sounded like. [more]

Copyright Jack Quinn, 2001-2026