Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Jeremy Denk

The Takács Quartet performed quartets by Beethoven and Mozart with insight and energy. Pianist Jeremy Denk joined the ensemble in Dohnányi’s lushly romantic Piano Quintet.

Robert Spano leads the Atlanta Symphony Orchestra in a powerful performance of Gandolfi's inspired Imaginary Numbers.

Much more than an accompanist, Denk was the rock on which the success of such a demanding programme was built.

A glittering performance of Mason Bates’ recent “concerto for orchestra” was a thrilling journey wedged between pretty good Beethoven.

Prom 70, the last concert for the BBC Symphony Orchestra prior to the Last Night festivities, featured three talented Americans: composer Missy Mazzoli, pianist Jeremy Denk and conductor Karina Canellakis.

A Mostly Mozart concert conducted by Edward Gardner and featuring Jeremy Denk was an excellent example of what this festival is trying to achieve.

Jeremy Denk's take on Brahms didn't impress Brahms, the Piano Concerto no. 1 in D minor proving an unequal, if refreshing, contest. 

The Saint Paul Chamber Orchestra delivers a thrilling account of Schubert's Second Symphony, while pianist Jeremy Denk inspires in Mozart and chamber works by Schumann and Kurtág.  

Jeremy Denk gave an athletic performance of Bartók's formidable second piano concerto, complemented by a Dvořák overture and two major works of Janáček.

Subtle and sublime, Denk delivers a memorable Mozart Rondo and Beethoven Op.109 and a marvellous Goldberg Variations.

Although Michael Tilson Thomas's reading of Mahler's First Symphony left a little to be desired, Jeremy Denk joined them for an utterly convincing reading of Cowell's Piano Concerto. 

Darkness and light were the main focus of Jeremy Denk's debut at the Chamber Proms in a programme which opened with Scriabin’s demonic  “Black Mass” piano sonata and closed with Beethoven’s otherworldly Op.111.

The second week of the Seattle Chamber Music Society's 2015 Summer Festival offered up an unusual juxtaposition of instrumental and vocal pieces, with a beautifully somber mood prevailing.

Stunning Smetana and Dvořák made for a gripping end to a fine concert.

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

The program included Bartók's third Piano Concerto and Stravinsky's Pétrouchka, with Sibelius' Oceanides rounding out a program that combined intellect with theatricality.

The opera, directed by Mary Birnbaum, rotates through a cast of characters including Tonic, Dominant, and Subdominant as well as a be-wigged Haydn, Mozart, and Beethoven.

Esa-Pekka Salonen infused his rendition of L'Oiseau de feu with air rather than fire. I’ve come to expect passion and urgency from performances of the complete ballet, but his splintering silences and startling dynamic shifts lent a unique tone to the work.

Michael Tilson Thomas and the San Francisco Symphony have made a partnership from playing with expectations, and this first of two Carnegie Hall concerts this season was yet another example of their craft.In a programme of Beethoven, Copland, and Steven Mackey, perhaps the most amazing subversion here was that by far the most interesting performance came in a Mozart piano concerto.

For the last concert of her Perspectives series at Carnegie Hall, Renée Fleming assembled one of the least coherent concept programmes imaginable. Billed as “Vienna: Window to Modernity”, it was never clear what was specifically Viennese about the music on show, nor what was particularly modern, nor what windows had to do with anything.

For pianist Jeremy Denk, Ligeti’s Études have been a kind of musical calling card. On tour, he has paired the Hungarian composer’s revolutionary studies in virtuosic pianism with Bach’s Goldberg Variations, while Denk’s latest recording presents Books I and II of the Études as bookends to Beethoven’s final piano sonata.

The Stern Auditorium at Carnegie Hall is enough to catch anyone’s breath. But it wasn’t the grandeur of the hall that struck me; it was the fact that the conductor’s podium was missing from the stage. A bold statement: it was clear Sir Roger Norrington was going to conduct the Orchestra of St. Luke’s his own way.Kicking off the evening’s performance was Haydn’s Symphony no. 39 in G minor.

The Chicago Symphony Orchestra hosted guest conductor Michael Tilson Thomas and pianist Jeremy Denk this weekend in works of Mahler, Beethoven and Brahms that felt familiar yet oddly fresh (or bizarre, depending on one’s point of view). The program comprised Mahler’s Blumine, a freestanding work originally used as the second movement of his First Symphony; Beethoven’s Piano Concerto No.