Ginastera's

Ms. Kaminsky is most excited about the performance of Alberto Ginastera's "Para Am é rica M á gica" featuring the soprano Lucy Shelton (singing a libretto based on pre-Columbian texts) with the Talujon Percussion Ensemble.

A Sonic Feast for Latin Lovers Will Friedwald 2010

The pianist's exertions reached their peak with Alberto Ginastera's "Danzas Argentinas," when Ms. Vetruccio herself seemed engaged in a sort of furious dance, drawing forth an untamed world of wenches and vagabond cowboys through the forceful alternation of dissonance and harmony.

Al Fresco in Rome, Pianist Valeria Vetriccio Plays Gershwin and Chopin Francis X. Rocca 2011

Riding high on the success of 1966's American premiere of Don Rodrigo in which a young tenor named Placido Domingo made an impressive American debut, City Opera presented Alberto Ginastera's controversial 12-tone opera, Bomarzo less than a year after its world premiere at the Opera Society of Washington.

George Heymont: Basking in the Multiple Charms of The Secret Garden George Heymont 2011

On a more personal level, Mr. Martins notes that "it is now almost 50 years since I myself played the world premiere of Ginastera's concerto."

Bach, Bedrock and Catalyst 2010

Sept. 19, 6 p.m. While Villa-Lobos's nine "Bachianas Brasilieras" are, in their composer's words, an "homage to the great genius of Bach," Mr. Martins points out that Ginastera's concerto is connected to this program in two ways: "Ginastera didn't write any music directly inspired by Bach," says Mr. Martins, "but he used to say that for a composer to learn how to write, the first thing to do is to study Bach's compositions."

Bach, Bedrock and Catalyst 2010

At Symphony Hall last night, their final encore was the "Danza final" from Alberto Ginastera's Estancia suite, and they pretty much screwed around the entire time: swaying, jumping up, stamping their feet, dancing out of their seats — towards the end, Gustavo Dudamel left the podium and began sawing away on a cello, while the cellist joined the mêlée on the podium, raising his arms in mock conducting.

Boston Latin Matthew Guerrieri 2007

At Symphony Hall last night, their final encore was the "Danza final" from Alberto Ginastera's Estancia suite, and they pretty much screwed around the entire time: swaying, jumping up, stamping their feet, dancing out of their seats — towards the end, Gustavo Dudamel left the podium and began sawing away on a cello, while the cellist joined the mêlée on the podium, raising his arms in mock conducting.

Archive 2007-11-01 Matthew Guerrieri 2007

This was framed by two works by Argentine composers starting with Alberto Ginastera's "Impresiones de la Puna."

NYT > Home Page By ZACHARY WOOLFE 2011

Saturday As part of the wallet-friendly Peoples' Symphony Concerts series, this string ensemble offers a program of Janacek's Suite for String Orchestra, Ginastera's Concerto per

NYT > Home Page 2011

Mr. Robertson sashayed on the podium during a vivacious rendition of Ginastera's Dances from the Ballet "Estancia," a lively conclusion to the evening.

NYT > Home Page By VIVIEN SCHWEITZER 2010