Basically, look at the response of the New York Times critic to the just-issued recording of Glass’ Orphee by the Portland Opera. It is recognition on an international level to the work by Anne Manson, and the Portland Opera and its orchestra. Tomassini essentially gives the recording credit for bringing the work to a level of respectability it had previously lacked. That’s heady praise for an opera company the size of Portland’s. Imagine what a recording of the Oregon Symphony at the height of its powers in worthy repertoire could bring back to Portland – or for that matter, playing on stage at Carnegie Hall. Well, you won’t have to imagine the Carnegie part – that comes up May 12, 2011. If only a recording could soon follow.
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2 replies on “why recordings matter”
has the program been announced for the carnegie concert? are there any plans for an oso recording? i hope so.
as for phil glass, don’t get me started . . .
Well, the Carnegie concert is May 12th. You could take a look at what we’re playing on our Classical series before that – it might hold some clues…