It was, until recently, an unfamiliar word to the Oregon arts scene. “Aquilon” roughly translates as “god of the northern wind,” and has a sensory connection to Alexander Pushkin’s 19th-century poem, “My Sister’s Vineyard.” The verse finishes with “as soon as the Aquilon blows, it brings with it” [rough translation] “the aromas of spices and exotic perfumes”—a heady thought. Read More
Did Portland’s opera directors have the same dream at the same time?
Or is it the irresistible W.A. Mozart? The composer was 18 — younger than many of these student performers— when he wrote the opera, which premiered in 1775 in Munich. Read More
Il Trovatore (The Troubadour) at Seattle Opera’s McCaw Hall Hall through Jan. 26, is a death-soaked, secret-infused and passion-obsessed opera. Giuseppe Verdi’s gory tale of revenge and jealousy is one juicy piece — when it doesn’t stumble like a lame warhorse. Read More
It’s no surprise that the piano-driven Tord Gustavsen Trio’s Sept. 30 concert sold out weeks ago. But you still have more chances to catch cutting-edge jazz in Portland this fall, courtesy of PDX Jazz. Read More
For know-it-all critics and discerning music-goers, “community opera” can be code for bad music, lousy singers and shabby production.
Not this time. Read More
More often than not, he plays the villains (Méphistophélès in Faust) and the weirdos (Bluebeard in Bluebeard’s Castle). She portrays the vulnerable tragic heroines (Violetta, Mimi, Marguerite). Read More
The stars, and there were several, could have carried Seattle Opera’s Porgy and Bess. But they didn’t have to. Conceived by Francesca Zambello, the production was spot-on in so many ways—emotionally attuned, musically uplifting, edgily designed and lit— that there was no need for the fine singers, several on the rise, to work overtime. Read More
Pinot noir and salmon surely make a felicitous match, yet imagine an even happier marriage: Ludwig van Beethoven’s String Quartet Op. 59 No. 2 paired with J. Christopher Wines’ 2016 “Lumiere” Pinot Noir. Read More
If you think jazz and marching-band musicians are the sole owners of the johnny-come-late instrument developed in the mid-1800s by Belgian Adolphe Sax, you’re not hearing enough saxophone music. Read More
“I’m not feeling the high note now,” says Karsten George, shaking his head while rehearsing at Portland State University’s Lincoln Hall one late-May afternoon. Read More