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

Where great things take effort, truly great things happen naturally. Shoji's Brahms was the highlight of the evening.  

Gautier Capuçon is the soloist in a fine reading of Robert Schumann's Cello Concerto, where sheer outward display gave way to more musical values.

In the exquisite singing line of the second movement, the appeal was not just in her beauty of tone but in the concentrated feeling Mullova brought to the shaping of each phrase.

The venerable Russian maestro and Conductor Laureate led the Philharmonia in an all-Russian programme with sensitive charm, youthful fire, and emotional range, with outstanding soloist Esther Yoo.

El octogenario Ashkenazy, a la batuta de la prestigiosa Philharmonia Orchestra, ofreció un concierto que irradió destellos de maestría y que contó con la presencia de la solista Elena Bashkirova.

La Philharmonia Orchestra, la violinista Esther Yoo y el aclamado director y pianista Vladimir Ashkenazy brindaron al público un programa conformado por dos grandes nombres del repertorio ruso: Tchaikovsky y Shostakovich.

Vladimir Ashkenazy conducts the Southbank Chamber orchestra in a programme dedicated to the interpretation of classical dance forms.

Vladimir Ashkenazy and the Philharmonia explore different sides of Shostakovich in the latest of the Voices of Revolution series.  

Vladimir Ashkenazy and the Philharmonia Orchestra excelled in a fascinating exploration of post-revolutionary Russian music under the banner ‘Workers and the State’.

The former principal guest conductor of the Cleveland Orchestra made his first appearance in seven years to lead graceful performances of Elgar and Beethoven. 

Fine Shostakovich playing from Ashkenazy and the Philharmonia makes Eisenstein's virtuosic propaganda film even stronger, in a powerful reminder of the Russian Revolution of 1905.

His gestures might not be the most elegant, but Vladimir Askenazy has a deep understanding of the music he choses to conduct.

Lively and joyful Schubert, elegant Mozart, and urgency, pace and exhilarating command in Elgar from Ashkenazy and the Philharmonia.

Warhorse (noun): creaky old classic played by orchestras in their sleep at least once a season.  There was absolutely no snoozing, however, through Alice Sara Ott's startling performance with the Philharmonia.

Dans ce programme exigeant, Berezovsky, que l'on a connu plus fringant, n'offre qu'une prestation honorable du premier concerto en fa dièse mineur. Ashkenazy, à travers la Symphonie n°2 de Rachmaninoff, mène un travail de fond avec une phalange qui fut un temps l'une des plus belles du monde.

The energising figure of Vladimir Ashkenazy presided over this all-Russian programme in a concert that showcased the prodigious gifts of Denis Kozhukhin.

A dazzling Sibelius Violin Concerto from Esther Yoo, and fresh and energetic Rachmaninov from Ashkenazy and the Philharmonia.

Beethoven truly celebrated in Sydney, as another symphony cycle progresses. 

Introducing a relatively unknown young pianist to Birmingham Symphony Hall and performing an old standard of the symphonic repertoire, could Vladimir Ashkenazy and the Philharmonia Orchestra produce any surprises?

Le 11 juin 2015, sous la baguette de Vladimir Ashkenazy, cinq œuvres de Sibelius étaient au programme du Philharmonia Orchestra, dont la Symphonie n°2. Une exploration originale de la musique du finlandais, soutenue par une interprétation travaillée et réfléchie.

The 82-strong Philharmonia Orchestra, under the baton of Vladimir Ashkenazy, ruled the roost at one of the highlights of Bristol’s 2014-15 classical music season.

La Philarmonia Orchestra con Ashkenazy al frente dedica el programa a la música de Sibelius.

Ashkenazy, The Philharmonia and Daniil Trifonov on top form in Sibelius and Rachmaninov at the Royal Festival Hall

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. 

This young ensemble was curiously lacking in youthful energy in a concert of orchestral classics with a few too many fluffed notes. 

Two repertoire works and the lesser known Lemminkäinen Suite made for an attractive all-Sibelius programme

A ruthless Russian leader quelling revolt and uniting his country through waging war on its neighbours: the theme of Sergei Eisenstein’s film Ivan the Terrible, intended as a Soviet propagandist parable, raises a knowing eyebrow even today. Excerpts from Prokofiev’s score formed the bulk of this raucously enjoyable concert by the Philharmonia under Vladimir Ashkenazy, beneath a screening of key scenes from the film itself.

Vladimir Ashkenazy and the Philharmonia received the largest ovation I have seen for a visiting orchestra in Manchester, delighting the Bridgewater Hall with works by Sibelius, Rachmaninov and Tchaikovsky.

Vladimir Ashkenazy presents his own refreshing orchestration of Mussorgsky's Pictures at an Exhibition with the Hong Kong Phil

Pianist Evgeny Kissin and conductor Vladimir Ashkenazy joined the Philharmonia orchestra in Tchaikovsky’s First Piano concerto and Fifth Symphony, and a rare symphonic ballad, The Voyevoda.

Everyone has their favourite movement in Holst’s Planets suite. Whether it be the percussive ferocity of “Mars, the Bringer of War”, the contrasting tranquillity of “Venus, the Bringer of Peace” or the joviality of “Jupiter”, there is something in The Planets for everyone.

A concert entitled “Askenazy’s Favourites” is always going to be intriguing, but perhaps more intriguing are his choices. If asked to pick what symphony Ashkenazy would choose to go in this concert, I would have thought that most people would have chosen a large-scale Romantic symphony, maybe Brahms, Rachmaninov or Mahler.

There are only a handful of composers whose music can provide enough variety to last a whole program. Beethoven is one of those composers. Not only that, but even today, some 200 years after his lifetime, his music continues to inspire, delight and challenge modern audiences. That is part of Beethoven’s enduring genius and legacy.The opening piece of the concert, the Grosse Fugue Op.

Britten’s Death in Venice suite, arranged by Steuart Bedford, is a continuous piece of music taken from the opera. As such, it is an extremely scenic work and even though it has its moments, I could not help but long for the actual opera rather than these excerpts (thankfully it will be performed by ENO later this year).

Continuing with Sibelius, the Sydney Symphony presented another Finnish epic in their latest concert, this time Sibelius’ Kullervo Symphony. However, first of all we were treated to a Ravel masterpiece, his Piano Concerto in D for the left hand.This concerto was commissioned by the pianist Paul Wittgenstein, who had lost his right arm in World War I.

The latest Sydney Symphony Orchestra concert, entitled Legends by the Sea, was an intriguing mix of contrasting works by Sibelius, Fauré and Debussy.Sibelius’ Lemminkäinen suite was an entirely new discovery for me. If Ashkenazy himself describes it as containing “some of Sibelius’ best music”, it is definitely a discovery worth making.

The Sydney Symphony concluded their mini Russian series with an all-Tchaikovsky concert featuring one of his lesser-known concertos and a most beloved symphony.The first half was devoted to his Piano Concert no. 2 in G major, less recognisable than his first with its opening crashing chords, but every bit as endearing and lyrical.

I have always been skeptical of concert performances of operas. Operas are written to be acted, and the staging is needed to complement the music. This is what I thought before I saw this performance of Ashkenazy conducting the Sydney Symphony Orchestra, Sydney Philharmonia Choirs and Sydney Children’s Choir in Tchaikovsky’s The Queen of Spades.

All things Russian are the flavour of the month in Sydney at the moment. Last night, the Sydney Symphony Orchestra under chief conductor Vladimir Ashkenazy embarked upon a mini-series of three Russian concerts to end the year. Recently returned from their highly successful tour of China, the orchestra was in sparkling form and played with freshness and vitality all evening.

On a stiflingly hot evening, a packed Colston Hall was met with an energetic conductor, Vladimir Ashkenazy, springing to the middle of the stage. Before the audience hushed, Berlioz’s Overture to Béatrice et Bénédict swirled around the room. Light-hearted, breezy and full of optimism, it made a great opening piece to the night’s programme.

It can't be often that a poet declares that the selection and setting of his words to music has turned them into better poetry.

Friday's concert from the Sydney Symphony, "Fireworks and Fantasy", most certainly lived up to its title.

The Sydney Symphony Orchestra continued their pairing of Beethoven and Strauss with two works based on different types of heros – the tragic hero of Beethoven’s Coriolan Overture and the more Romantic, all-conquering hero of Strauss’ Thus Spake Zarathustra, based on Nietzsche’s book.

Beethoven was certainly not afraid of breaking traditions. He broke several long-held Classical traditions in his Piano Concerto no. 4, and no break was more revolutionary than beginning a concerto with the solo instrument. It was in this way that the Sydney Symphony Orchestra under Vladimir Ashkenazy opened their latest musical offering at Sydney Opera House.

The concert to open the Sydney Symphony Orchestra's 80th Anniversary Series was very much one of contrasts. With the promise of Beethoven's Ninth Symphony, the season seemed to be opening in celebratory style. However, the entire first half was devoted to Richard Strauss' Metamorphosen, a piece which is a far cry from the triumphant finale of the Beethoven.

Paul Dukas' success rests almost exclusively upon his symphonic scherzo L'apprenti sorcier ("The Sorcerer's Apprentice").

Mahler's Second Symphony is most certainly epic and needs an epic performance to do it justice. The Sydney Symphony Orchestra and Sydney Philharmonia Choirs went some way to achieving this on Friday night. The symphony deals with weighty themes of life, death and resurrection and contains Mahler's own vision of immortality in its triumphant conclusion.