No doubt the unanticipated blizzard that shed 10.5 inches of snow on Portland Jazz Festival’s mid-winter party Feb.16-25 had some impact on concert-goers. But not much. 

Four sold-out concerts scheduled for Feb. 22 — Storm Large, Charlie Musselwhite and Curtis Salgado, Mark Guiliana and Mel Brown B-3 Organ Group — were postponed, but otherwise the show went on, if audiences were smaller on the final icy nights.  Read More

The viola is often the butt of musical jokes. Overshadowed by the weighty cello below it and the showy violin above it, the viola is bullied. And the boring loser-instrument joke goes on and on.

“If you don’t know what the viola is, you shouldn’t. There’s so much more to know,” said Isabel Hagen, the New York-based star violist — and comedian — Feb. 13 at The Old Church in downtown Portland. Read More

The Gershwin brothers had a gift for telling the truth in their music:
In time the Rockies may crumble
Gibraltar may tumble
They’re only made of clay.
But our love is here to stay.
“Our Love is Here To Stay.” Read More

Alisa Weilerstein, a 40-year-old cellist and new mother dressed in an off-the-shoulder tangerine top, black leggings and 4-inch sparkling spikes, was all alone on the stage for 3.5 hours at a sold-out Chamber Music Northwest concert Feb. 4 at First Baptist Church in downtown Portland.  Read More

Ending with a 5-minute curtain call, Camille Saint-Saëns’ single major opera, Samson & Delilah, proved a hit with the Seattle Opera audience on Jan. 20 at McCaw Hall. SO staged it Jan. 22 for a second performance. Read More

Fear No Music’s artistic director Kenji Bunch is a talented programmer, not to mention, composer and violist. He plans concerts that open ears to music we’ve never heard–and, sometimes, to music we’re uncomfortable with. Read More

SAN FRANCISCO – In John Adams’ new opera Antony and Cleopatra, one goes back and forth between the grip of the lush rush of music and the production’s stunning visual minimalism. The world premiere tells Shakespeare’s towering tale of passion, global power shifts and loss, but it’s neatly delivered in part with Mimi Lien’s taut set that creates windows, doors, steps and funeral pyres out of dark wood, helping to make order and shape(s) out of a potentially unwieldy story. Read More

When Sphinx Virtuosi performed Oct. 11 at Beaverton’s Reser Center, the stage looked very different from one at traditional chamber or orchestral concerts.

For one, it was full of 18 Black and Latinx musicians, and they were young — OK, 21 to 41 years old, or so. And there was no conductor, common for chamber groups but unusual for one this large. Read More

After seeing the terrific L’Orfeo earlier this summer produced by the new opera company, OrpheusPDX, I expected the best from their second production, The Fall of the House of Usher, on Aug. 28, the final day of the four-performance run at Portland State University’s Lincoln Hall. Read More

With this month’s 10-day Siletz Bay Music Festival concerts as dissimilar as Sept. 10’s Beethoven double-bill and Sept. 11’s hip-hop medley, it was no surprise that the Sept. 4 Musical Tapas sprung from all over the musical map. Read More