Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Martinů

Brillante Solisten in Konzerten von Copland und Martinů sind die symphonischen Erzähler eines abwechslungsreichen Konzertabends der Bamberger Symphoniker unter Leitung von Jakub Hrůša

Martinůs' musikalisch interessantes Doppelkonzert wird von den Wiener Symphonikern technisch ausgezeichnet realisiert.

Eine herausragende Premiere von Bohuslav Martinůs Julietta am Berliner Schiller Theater erntet stehende Ovationen.

Die Kieler Philharmoniker traten in großer Symphoniebesetzung mit drei Schlagwerkern auf, und sogar die dem Konzertsaal eigene Orgel wurde an diesem Abend gespielt.

Keine Flüchtlingsoper sondern zeitlose Fragen: Ein riesiges Sängerensemble und das bestens disponierte Orchester meisterte die Mammutaufgabe, die Martinůs Oper darstellt, bravourös.

Nach Martinůs Mahnmal für Licide ließen Mariss Jansons und das BRSO den Hörer mit Schostakowitschs Siebter sprachlos zurück.

Im ersten ihrer Konzerte bei den Salzburger Festspielen luden die Wiener Philharmoniker zu einem Reigen spiritueller Musik von Bruckner und Martinů und konnten mit beeindruckenden Interpretationen fesseln.

At a time when the “relevance” is bandied around all too frequently in relation to opera, Martinů's really does deserve that tag. 

A tribute to the theremin offers a fresh look at a century-old instrument.

Bernarda Fink, acompañada por Anthony Spiri al piano, hizo gala de sus diversas proveniencias confeccionando un programa que fue desde los aires eslavos hasta las pampas argentinas, pasando por la España de Manuel de Falla y Joaquín Rodrigo.

Špaček subtly illuminated the tough and serious first movement with shafts of light, convincingly sweetened his tone for the lyricism of the intermezzo-like Andante moderato, and gave a dazzling display in the exhilarating finale.

Andrei Ioniţă proved to be an ideal interpreter of Dvorak's Cello Concerto in a concert that also included a magnificent performance of Martinů's Fourth Symphony.

After blazing new trails abroad, the Czech Philhamonic keeps its hometown fans happy with a rousing return to form.

Andrés Orozco-Estrada and the LPO offer an eclectic and unusual mix of works which, despite commendable playing, never quite added up to a satisfying whole.

In a typically ambitious programme, Vladimir Jurowski and the London Philharmonic Orchestra explored how four Czech composers responded to imprisonment, exile and renewal.

Frank Peter Zimmermann guía al público del Palacio Euskalduna en un viaje musical a lo largo del continente europeo de la mano de Gaubert, Martinů y Dvorák.

Intergenerational ensemble-making was the key feature of the opening concert of Suntory Hall's Chamber Music Garden festival, produced by eminent cellist and the hall's President Tsuyoshi Tsutsumi.

Alban Gerhardt in Martinů’s Cello Concerto no. 1 was a dazzling achievement in the Belgrade Philharmonic’s concert under Uroš Lajovic, along with atmospheric Sibelius and polished Tchaikovsky.

L’Orchestre de Chambre de Lausanne de passage en terres genevoises aura offert un bien lumineux Concerto pour deux orchestres de Bohuslav Martinů. 

Messagesquisse de Boulez est une prise de risque admirable dans un concert qui rejoint la grande Sol Gabetta avec Martinů et Respighi.

El ritmo palpita y atraviesa Elephant Skin, de Jesús Rueda, el Concierto para violonchelo y orquesta núm. 1, de Martinů, y la Sinfonía núm. 5, de Tchaikovsky, conformando un crisol estimulante y variado, que aboca al intérprete a una atención y versatilidad extremas. Este era el reto que acometían Lintu y su Orquesta Sinfónica de la Radio Finlandesa, en colaboración con, sin duda, una de las mejores chelistas de los últimos tiempos: Sol Gabetta.

Séduisant rapprochement de styles divergents, mais surtout de timbres inaccoutumés, ce choix d’œuvres audacieux met à l’honneur des instruments aussi inhabituels que le basson ou le cor, brouille les harmonies familières.

Is there any instrument more bittersweet than the viola? The violin does the acrobatics, the cello is more conventionally beautiful, but the viola sits in the middle of the orchestral palette like no other instrument. Neither high nor low, it’s perfectly placed to embody the contradictory and the conflicted, ideal for a sense of desire denied or of fulfilment deferred.

Top notch musicianship from the Schubert Ensemble in their final appearance at King’s Place. 

Conductor Tomáš Netopil combines the best of two worlds at the Dvořákʼs Prague festival.

The effervescent conductor took six little-known Czech works into another ether: one in which the footprints are invisible.

It was a successful program that showed off the considerable range of a talented and charming troupe.

Ludovic Morlot and Seattle Symphony wrap up their two-year Beethoven cycle with a new perspective on the Fifth, by way of Bohuslav Martinů and a thrilling Bartók Second Piano Concerto featuring Bertrand Chamayou.

Cellist Gautier Capuçon and pianist Frank Braley are artists I have previously admired in many chamber ensemble concerts, but their recital at Kings Place was the first time I heard them as a duo.

Kancheli, Martinů and Vaughan Williams – all of whom have at various times been misunderstood or ignored – featured in this bold programme from Vladamir Jurowski and the LPO.

The Czech Philharmonic brings The Epic of Gilgamesh to life with audacity and flair.

A firecracker performance by Vladimir Jurowski and the Rundfunk Sinfonieorchester Berlin giving urgency to music composed at a time that echoes our own.

The Bournemouth Symphony Orchestra produced wonderfully supportive playing for pianist Alexander Romanovsky in Rachmaninov’s youthful First Piano Concerto and vividly brought to life Martinů’s Fourth Symphony.

The program also included Martinů’s undeservedly neglected Parables and restrained, lyrical Brahms.

The Guildhall School of Music and Drama is firing on all cylinders with this double bill of rare surrealist operas by Martinů.

A vast world of movement rose in celebration of the body’s athleticism and its subtle connection to emotions and personality. 

This season's Director's Choice presents three works by choreographers Justin Peck, Alejandro Cerrudo and Paul Gibson, who, according to PNB Artistic Director Peter Boal, are among the "truly gifted" of our time.  

Albert Roussel disait de Bohuslav Martinů « ce sera mon chef-d'œuvre ». 

Debuts all round: pianist Igor Levit in Beethoven 5, and a debut of Czech composer's Martinu's Symphony no 6. 

Ludovic Morlot couples an intriguingly pessimistic new work by Giya Kancheli with Martinů's end-of-war Symphony no. 4 and the Brahms Violin Concerto featuring Renaud Capuçon.

Un rush hour rutilant au Victoria Hall vendredi soir, dont le joyau fut certainement le hautbois somptueux d'Alexeï Ogrintchouk !

Jean-Guihen Queyras chose to open his Wigmore Hall residency with an evening of flute trios together with two of his illustrious chamber-music friends, Emmanuel Pahud and Eric Le Sage.

Kathryn Selby, Andrew Haveron, and Timo-Veikko Valve enchanted with a largely Czech programme of chamber music. 

Joshua Bell and other musical heavyweights fail to impress in an evening of Czech chamber works well-known and otherwise.

Julietta, Bohuslav Martinů’s seldom performed surrealistic opera of dreams and lost identity recently premiered in a new Zurich production.

In Amsterdam, Mariss Jansons conducts the Concertgebouw orchestra in a selection of six stunning rhapsodies for large orchestra.

With an inspired showing in Prague, the Berlin Philharmonic reprises one of the most significant moments in the orchestra's history.

The Aurora orchestra chose one of the most eclectic mixes of music that St George’s has seen in a classic music concert inspired by the home, opening the eyes of Bristol to a strange variety of pieces. 

Gotham Chamber Opera's current double bill of Bohuslav Martinů's Alexandre bis and Comedy on the Bridge prove that an opera company doesn’t need to be the biggest in town to be the most innovative.