The new Early Music Festival: NYC, which ended last week, gives reason for cautious hope. You can’t be categorical about its prospects one way or the other, because several more or less similar ventures have come and gone in recent years.
But it is also clear that times are changing, and the current climate seems propitious. To a critic who used to lament with some regularity the lack of a vibrant early-music scene in New York, comparable to those in Boston and San Francisco — let alone, say, London and Cologne — the last decade has proved astounding.
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