Robert Ripps

Tracking Surround: Glenn Gould SACD

By Robert Ripps
Posted June 6, 2007

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Tracking Surround: Beethoven SACD

By Robert Ripps
Posted November 13, 2007

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Tracking Surround: Bruckner SACD

By Robert Ripps
Posted November 13, 2007

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Tracking Surround: Tchaikovsky's The Nutcracker on SACD

By Robert Ripps
Posted January 5, 2008

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Cameron Carpenter: Revolutionary

Surround Music review

By Robert Ripps
Posted February 9, 2009

Telarc Performance •••• SACD Mix ••••½ Extras •••½ Despite his American Boychoir and Juilliard training, 27-year-o

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The 20th Century’s Greatest Hits

A selection of great-sounding recordings of the last century’s best classical music

By Robert Ripps
Posted December 11, 2001

Tune in a classical FM radio station or attend a symphony orchestra concert, and chances are you'll hear very little music composed after 1900.

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Tracking Surround

Universal's first classical SACDs: Dvorak, New Year’s Concert 2002, Wagner, Gluck, Beethoven, Mozart. Also on SACD: Vivaldi, Bach, Mendelssohn/Shostakovich, Los Angeles Guitar Quartet. And on DVD-A: Bach, Mozart, Stravinsky, Ravel, Haydn, D. Scarlatti, Be?

By Robert Ripps
Posted April 10, 2003

Click here to view this article (PDF)

Heavenly Surround

Conductor Robert Spano and the Telarc crew turn the Berlioz /Requiem/ into an SACD spectacular

By Robert Ripps
Posted January 1, 2005

Telarc has released the Berlioz Requiem on a five-channel Super Audio CD. Why should you care? Because fans of surround sound are always looking for showpieces.

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“Keeping Score”: Where the Classics Are Current — and High-Tech

How a top A/V team helped Michael Tilson Thomas and the San Francisco Symphony explore Mahler

By Robert Ripps
Posted July 2, 2011

“I sometimes think I should’ve been a filmmaker rather than a musician.”

So says Michael Tilson Thomas, conductor and music director of the San Francisco Symphony.

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A Talk with "Keeping Score" co-director Joan Saffa

Behind the scenes of the series and the Mahler episodes

By Robert Ripps
Posted June 20, 2011

Robert Ripps: From your perspective, how has Keeping Score evolved since its 2004 premiere, both artistically and technologically?

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