Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Paganini

Neben Prokofjews Erstem Violinkonzert glitzerte das Orchestre National de France unter Lionel Bringuier in Debussy und Rimsky-Korsakow.

Concerto Köln und Nagano rufen beim Einstand zum gemeinsamen Wagner-Großprojekt einiges hervor: Überraschung, Vorfreude und eine leise Befürchtung im Zeichen der Eingewöhnung.

Joana Mallwitz macht mit der Nürnberger Staatsphilharmonie Paganini zum programmatischen Scharnier zwischen Beethoven und Berlioz.

Das London Orchester unter Esa-Pekka Salonen zeigt bei seinem Gastspiel in Berlin alle Facetten Mahlers auf.

Unter der Leitung von Clemens Schuldt präsentiert das Kammerorchester ein abwechslungsreiches Programm von Mozart bis Adès.

InMo Yang spielte mit expressivem Rubato, agil, mit ausgezeichneter Intonation und stupender Technik, durch die Springbogen- und Flageolett-Passagen, die doppelgriffigen Läufe, das Pizzicato mit der linken Hand.

Der moderne klassische Konzertbetrieb neigt dazu, die gleichen Stücke mit den gleichen Künstlern immer wieder in die Konzertsäle zu bringen. An diesem Abend brachten die Münchner Symphoniker nicht nur selten gehörte Werke, sondern auch zwei zwei München-Debüts ins Prinzregententheater.

Die Camerata Salzburg bietet in ihrem 4. Abonnementkonzert wieder einmal ein interessantes Programm, das Yuri Bashmet zugleich als Solisten und Dirigenten zeigt.

The Pittsburgh Symphony flanks Khachaturian’s flamboyant Violin Concerto with a Brahms symphony and a recent piece from Sean Shepherd. 

Walton’s Belshazzar’s Feast is brought to life Sir Bryn Terfel, Adam Hickox and the Royal Liverpool Philharmonic Choir and Orchestra. 

An Usher Hall fire alarm interrupts Thomas Søndergård and the Royal Scottish National Orchestra's rendition of Dvořák’s Sixth Symphony.

Mario Venzago conducts a rare chance to hear Ralph Vaughan Williams' choral setting of Walt Whitman, Toward the Unknown Region. 

In her final appearance as the Boston Symphony Orchestra’s Assistant Conductor, Anna Ratikina leads a fine programme of Prokofiev, Paganini and Ellen Reid.

Santtu-Matias Rouvali's second New York Phil subscription programme of the season opens with the US premiere of Anna Thorvaldsdottir's Catamorphosis. 

Hong Kong Sinfonietta's Cellomania program showcased the young Turkish cellist's towering talent with a potpourri of show-stoppers.

Sounding under-rehearsed and unloved, these performances of two great works made for a frustrating evening that could have been so much more inspiring.   

Bell didn’t try to impress with speed nor call attention to his virtuosity; expression and color were paramount with notes sounding clearly.

La joven violinista María Dueñas debuta en Ibermúsica con el concierto de Paganini y junto a la Filarmónica Nacional de Rusia bajo la dirección de Spivakov.

Boris Charmaz' and Dimitri Chamblas' À bras-le-corps, a classic of non-dance, closes the series What the Body Remembers at Berlin's Akademie der Künste.

The Royal Liverpool Philharmonic Orchestra present a programme of Rossini, Paganini and Dvořák with Michele Mariotti conducting, but it’s Ray Chen who steals the show.

Salle Cortot, le duo Seigle défend avec espièglerie les duos méconnus de Paganini et Rolla pour violon et violoncelle.

The Ulster Orchestra present a programme of classical elegance and sunshine; Rustioni is joined by Francesca Dego in an exceptionally sophisticated performance of Mozart’s Violin Concerto no. 3. 

La interpretación de Dueñas conjugó un derroche de técnica violinística con el máximo respeto a la esencia musical y a la belleza de las líneas casi cantables de una obra en la que hay mucho más que deslumbrantes pirotecnias.

Ilya Gringolts brings his brand of unspectacular virtuosity to the ACO's latest programme, with the Paganini Violin Concerto no. 1 and Bartók's Divertimento clear highlights.

A trip down the Danube to old Budapest, with Iván Fischer taking the music of Brahms and Liszt back to their folk roots. 

A la Fondation Louis Vuitton, le musicien a su rendre justice à son talent en célébrant l'alpha et l'oméga de son instrument : Bach et Paganini.

Les six jeunes violoncellistes de la promotion 2017-2018 de la Classe d'Excellence de Gautier Capuçon en concert à la Fondation Louis Vuitton: un récital convivial et chaleureux.

Scotch snap aplenty in evening of “Scottish Fantasy” with Hong Kong Philharmonic. 

Maestro Edo de Waart and violinist Augustin Hadelich team up to provide a spectacular performance of Shostakovich.

A superb concert from the London Philharmonic Orchestra under an inspirational Vasily Petrenko who brought vivid colours to two ballet scores straddling the Great War, and an excusite rendtion of Tchaikovsky's Violin Concerto. 

When news of the discovery of Stravinsky's Funeral Song reached the classical music world, a near-revolution of excitement took place.

In the last week, the LPO has been on a journey through the seasons. Tonight, it was mists and mellow fruitfulness, courtesy of rarities by Respighi and Marx.

Joining Maestro Christoph Eschenbach and the musicians of the Bamberg Symphony Orchestra for a tour across the United States, Chen headlined a pops concert of Austro-German music, complete with a riveting interpretation of the Mendelssohn Violin Concerto and an sufficient performance of Mahler’s Fifth.

This evening’s performance marked the next stop on the Aurora Orchestra’s Grand Tour, continuing a five-year journey through the complete cycle of Mozart’s piano concertos. 

Berlin’s Konzerthaus Orchestra began its new season with works by two composers set against the artistic orthodoxies of their day.

Maxim Vengerov et Roustem Saïtkoulov ont proposé au public genevois un programme qui, tel un diamant exceptionnel, a été serti somptueusement, offrant un style adéquat à chaque pièce, rehaussant l’éclat du tout d’une musicalité impériale. Toute critique du détail, en reviendrait à perdre la vision d’un tout magistral. 

The artistry of Maxim Vengerov is an uncommon phenomenon: it represents a rare amalgamation of repertoire spanning both traditional and modern, of musical interests firmly single-minded at times but broadly versatile elsewhere.

A potpourri of styles and chronology portrayed effectively by Edo de Waart, Augustin Hadelich, and the Chicago Symphony Orchestra

Karina Cannelakis and Hong Kong Phil excite and please with disparate programme of Mozart and Strauss. 

The BBC Concert Orchestra and Barry Wordsworth were joined by Stile Antico, Jack Liebeck and Christine Rice in an exploration of the musical mind of fictional detective Sherlock Holmes. 

In a program inspired by Italy, Roberto Abbado and Sergej Krylov join the Atlanta Symphony Orchestra in powerhouse performances that featured some dazzling solo violin playing. 

The challenges presented on this program, particularly Bruckner's Seventh Symphony, allowed the TSO to impress with their technical precision, ensemble cohesiveness and stamina.

A dark, intense performance of Tchaikovsky's Manfred, the black sheep of his symphonic canon, is the highlight of Vladimir Ashkenazy's latest concert with the Philharmonia. 

A virtuosic performance from Nemanja Radulović of Paganini was the highlight of Fabien Gabel's concert with the Orchestre national d'Île-de-France.

A Mozart symphony in the second half of this Houston Symphony concert could hardly compete with Augustin Hadelich playing Bartók. 

  Sibelius’s Violin Concerto and Dvořák’s “New World” Symphony play to an enthusiastic Cleveland audience on a beautiful evening at the Blossom Festival.

There was something for everyone in Maxim Vengerov and Itamar Golan’s recital programme at the Barbican last night. The music of nine different nations was represented in a multicultural extravaganza of shifting horizons, moods and styles.

One of the delights of the Edinburgh Fringe is getting into venues you might pass by routinely all year and yet know nothing about. The Royal Over-Seas League in Princes Street was a case in point: it provided a charming boutique venue with a bar giving views of the Castle, Princes Street Gardens, and the street itself, busy with people at the start of this festival.

The inaugural Bristol Proms are nearly over. Indeed, if you’re reading this any later than Saturday evening, they’ve been and gone. The festival, run by the Bristol Old Vic, has deliberately been unlike its London namesake.