Edward Ortiz
Edward Ortiz is the arts critic for The Sacramento Bee and has written for The Boston Globe, the Berkshire Eagle, and The Providence Journal. He is also a contributor to www.newmusicbox.org.
Articles by this Author
Feature Article
May 8, 2013
Can the modern piano evolve any further? Pianist and inventor Christopher Taylor thinks so, and has been laboring to perfect a two-keyboard instrument, performing with an early near-equivalent wherever he can.
More "Christopher Taylor's Quest for the Perfect Piano" »Chamber Music REVIEW
April 24, 2013
Mark Adamo explores the unusual pairing of baritone with string quartet, achieving handsome (and Hampson) results.
More about Mondavi Center for the Performing Arts »Chamber Orchestra/Orchestra REVIEW
March 17, 2013
The St. Louis Symphony reaches out to the Davis community with a rarely played Beethoven symphony and the brilliant violinist James Ehnes performing Berg.
More about Mondavi Center for the Performing Arts »Chamber Music REVIEW
January 30, 2013
A standout ensemble from Chicago, Axiom Brass, makes a sterling West Coast debut, performing challenging and rewarding works.
More »Kids & Families Feature
August 29, 2012
The Mondavi Center’s Young Artists Competition shines attention on yet another crop of brilliant performers, this year widening its scope to national level. And Bay Area youth continue to win pride of place.
More "Young Artists Spotlighted by Mondavi Center Competition" »Kids & Families Feature
July 17, 2012
Is music most rewarding as a group activity? Preliminary research results seem to suggest so.
More "Is Music the New Social Media? Empathy 'Entrainment'" »Feature Article
March 13, 2012
The conflict in a musical adaptation of an Israeli children’s book mirrors the problems of a major California city.
More "Stockton Symphony Engages City With New Music" »Opera REVIEW
February 24, 2012
Although less than “grand,” a respectable production of Rigoletto is given at the Sacramento Community Center.
More about Sacramento Opera »Festival REVIEW
November 15, 2011
The free Festival of New American Music, in Sacramento, presents a variety of welcome works that bode well for the future.
More »Recital REVIEW
October 29, 2011
A smartly laid out program of violin works, old and new, dexterously conveyed emotion while it purveyed lofty musical ideas.
More about Mondavi Center for the Performing Arts »Feature Article
August 2, 2011
After canceling part of its 2010–2011 season, the Sacramento Opera ponders its future, including a possible merger with the Sacramento Philharmonic.
More "Keeping the Lights On: Sacramento Opera Seeks to Remain Viable" »Feature Article
June 16, 2011
At the Sacramento Philharmonic the future is looking a lot like the recent past. That comes by way of the organization suddenly parting ways with its Executive Director Marc Feldman last week.
More "Executive Director Shake-Up at Sacramento Philharmonic" »Feature Article
June 13, 2011
Three Stages at Folsom Lake College has just hosted its first events, but the region’s arts organizations are pinning their hopes on the beautiful new complex.
More "New Arts Complex in Folsom Draws Eyes, Ears, and High Hopes" »Choral REVIEW
March 19, 2011
The Sacramento Choral Society and Orchestra elegantly paired searing orchestral music with well-etched singing in its performance of Verdi’s Requiem.
More about Sacramento Choral Society and Orchestra »Archive REVIEW
April 29, 2008
It's not every day that you get an Israeli pianist, a Palestinian oud player, and an Egyptian conductor together on the same stage.
But this is exactly what the Sacramento Philharmonic did during its "Songs of Hope" concert at Sacramento's Community Center Theater on Saturday evening. And in doing so, this orchestra made the elegant argument that music can destroy all borders and make friends of perceived enemies.
That music has this potential, however, has never been in question.
More »Archive REVIEW
March 4, 2008
There is something both intimate and grand about Edward Elgar’s not-oft-performed oratorio The Dream of Gerontius. Perhaps, it’s the challenge of reconciling those dissimilarities that makes this work, written in 1899-1900, a rarity. Or maybe it’s the fact that there are plenty of tricky musical parts to navigate for chorus, orchestra, and soloists?
When performed well, however, Gerontius is certain to make a lasting impression.
