Artikel von Edward Sava-Segal

Dame Mitsuko Uchida again brought out her outstanding musicality and special charisma in Bartók’s Third Piano Concerto.

Semyon Bychkov lead the New York Philharmonic in an outstanding rendition of Shostakovich’s Fifth Symphony.

Before his debut in Carnegie’s Zankel Hall, pianist and composer Thomas Nickell shares his opinions on an interpreter’s mandate and artistic freedom.

Gražinytė-Tyla conveyed the impression of allowing her players a certain freedom to express themselves while commanding the overall forces towards a preset goal.

Mariss Jansons makes the case for the Bavarian Radio Symphony Orchestra visiting Carnegie Hall more often. 

There was a palpable sense of communion during a performance bringing these great musicians together at Carnegie Hall for the first time. 

Laurent Pelly’s staging provided some of the most memorable moments in this performance of Cendrillon. 

At Carnegie Hall Jean-Yves Thibaudet successfully brought forward the mercurial character of Bernstein's music, while Andris Nelsons highlighted details in Shostakovich. 

In her newest work, Metacosmos, Anna Thorvaldsdóttir proves again to be an artist of deep originality.

Kirill Petrenko paid attention to details that many times get lost.

Ébène Quartet’s musical ebb and flow brings to mind Proust’s words to Fauré, that he was “intoxicated by his music”.  

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

An uneven concert where Prokofiev's Fifth Symphony found the NY Phil in more reassuring form. 

A program juxtaposing music by Mahler and Berlioz didn't fully convey these musicians' abilities.

Synergies between singers compensated for accurate but unexciting orchestral playing.

Riccardo Muti brought a Verdian quality to Brahms’ Second Symphony, adding a certain Italian volatility and declamatory grandeur to the music.

Juxtaposing Debussy’s music with opuses by Schumann and Beethoven, Stephen Hough brought forward connection points one wouldn't have thought of.

James Ehnes, a violinist of remarkable elegance, was outstanding in Prokofiev's First Concerto infusing richness to the long, introspective melodic lines.

Towering above all the other meritorious singers in this performance, was the phenomenal Georgian mezzo-soprano Anita Rachvelishvili 

Jansen is an artist of such great musicianship that she was able to instill new life to Bruch's First Violin Concerto.