Pierre-Laurent Aimard Programs Birds, Ideas, and Modernist Brilliance
Thursday July 27: solo piano recital including works by Daquin, Schumann, Ravel, Anderson, Bartok, and Messiaen
Saturday July 29:[...]
by Theresa Rebeck
Oldcastle Theatre Company, Bennington
Closes August 6
Richard Howe as Phillip
Peter Langstaff as Sterling
Gabriel Vaughan as Dennis
Meredith Meurs as Jackie
Doria Bramante as Mary
Directed by Eric[...]
Youthful Mozart, (Over-)Ripe Mahler
Tanglewood Music Shed: Boston Symphony Orchestra, Andris Nelsons, conductor
Mozart, Violin Concerto no. 3 in G major K. 216
Daniel Lozakovich, violin soloist
ELGAR The Dream of Gerontius ● Daniel Barenboim, conductor; Catherine Wyn-Rogers (Angel); Andrew Staples (Gerontius); Thomas Hampson (Priest/Angel of the Agony); Staatskapelle Berlin; Staatsopernchor; RIAS Ka[...]
Steven Kruger is a former classical concert agent. For a number of years he supervised the roster of conductors at Shaw Concerts in New York City, representing such artists as Sir Andrew Davis, Sir Neville Marriner, David Atherton, Rafael Fruhbeck De Burgos, Jose Serebrier and Robert Shaw.
Born in New York City in 1947 to a German immigrant father and an American mother, Kruger is a descendant of Bach biographer Phillip Spitta. He was educated at Phillips Exeter and Princeton, and received his degree in Philosophy, but turned to music administration after a brief career as a military officer and as a stockbroker.
Early in his exposure to music, Kruger developed a special fondness for the British Symphonists, and as a concert agent was able to play a part in the revival of such composers as Elgar, Bax, Walton and Vaughan Williams during the late 1970s.
He continues today as an advocate for these and other great 19th and 20th century symphonic composers, such as D'Indy, Magnard, Schmidt and Tubin, who were at one time eclipsed by the mid-century fashion for academic music.
Now retired and living in California, Steven Kruger regularly
attends The San Francisco Symphony and reports upon those and other Davies Hall symphonic events. Since 2011, he has written program notes on a continuing basis for the Oregon Symphony, including their recent CD, "Music for a Time of War," and has become a regular reviewer for Fanfare. (Email this author)