When the cello prodigy and Columbia grad made her Mostly Mozart debut playing Osvaldo Golijov’s ecstatic Azul, the composer had finished a major rewrite just days earlier, but Weilerstein sounded like she had spent a lifetime with the work.
The Kirov Opera’s Der Ring des Nibelungen
The Kirov’s visit last summer transcended all categories of badness. Lumpy brown gods hung overhead like papier-mâché made by giant second-graders. The Valkyries wore tinfoil hats. Small people pushed around smaller humanoid lumps that flickered like McDonald’s freebies. Watching this garish murk felt like rubbernecking.