Logan Young

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  • REVIEW: Sonya Yoncheva Debuts Memorable Mimì in Met's Middling 'Bohème'

    Recently, the Metropolitan Opera has made headlines for all the wrong reasons. Be it pre-season labor disputes with the man Peter Gelb, opening night unrest care of Leon Klinghoffer and Rudy Guiliani or just a simple technical glitch during the broadcast at your local cinema, what's been lost as of late is a lot. Such controversies, however inflated, do obscure the institution's real mission statement. First and perhaps foremost, is the fact that the Met remains this country's most enduring repertory company. For every Klinghoffer or Iolanta premiere in 2014-15, there are as many, if not more, reheated Aidas and prefab Meistersingers. Come the holidays, highly touted new productions of Le Nozze di Figaro and The Merry Widow will run alongside evergreen faire like Il Barbiere di Siviglia and Hansel and Gretel. And, let's be honest, it is the latter, lighter of these programming options that the casual opera-goer is wont to experience there at Lincoln Center. In fact, Mr. Gelb is banking on it.

  • EXCLUSIVE: Classicalite Q&A with Violinist Joshua Bell on HBO & Mendelssohn's Octet; D.C. Metro & Bach's Concertos

    With his Washington Metropolitan Area Transit Authority mulligan miles behind him, Joshua Bell is Skyping with me from his suite at the Ritz-Carlton, Dubai. As per usual when talking to the press, the world's greatest living violinist is in between rehearsals. Yes, Bell has traveled to the United Arab Emirates to perform Felix Mendelssohn's 'Violin Concerto' in E minor, Op. 64 at the Royal Opera House Muscat with the Academy of St. Martin-in-the-Fields--the storied British band, founded by Sir Neville Marriner in 1958, that Bell remains the only American to have led as both music director and conductor.
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