Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Seong-Jin Cho

Bemerkenswerte Debüts sowohl des südkoreanischen Pianisten Seong-Jin Cho als auch des finnischen Dirigenten Santtu-Matias Rouvali beim Tonhalle-Orchester Zürich.

Der südkoreanische Pianist gab einen virtuosen Klavierabend und sorgte beim jungen Publikum für außerordentliche Glücksmomente.

Seong-Jin Cho und Giullaume Jehl zeigen einen perfekten Schostakowitsch, doch manchmal sollte man der Kühnheit der Komponisten mehr vertrauen...

Nicht weniger als sechzig grössere und kleinere Stars der klassischen Musikszene gaben sich beim Galakonzert in Verbier die Ehre. Ein grosser Erfolg für den Intendanten Martin Engstroem.

Extrem kontrastreich war das Konzert unter Lahav Shani in Baden-Baden. Mit dem virtuosen koreanischen Pianisten Seong-Jin Cho spielte es ein quirliges Klavierkonzert von Maurice Ravel und eine tieftraurige Pathétique.

Ein Berliner Traum-Konzert mit Firsova, Schumann und Schostakowitsch.

Mit Werken von Rimsky-Korsakow, Prokofjew und Schostakowitsch läutet das Riga Jūrmala Festival das letzte Wochenende seiner ersten Saison ein.

Wit, tragedy, and the weight of history in Santtu-Matias Rouvali's program of Prokofiev and Shostakovich at the Wu Tsai Theater. 

Seong-Jin Cho proves rigid in Ravel, but the LAPO and guest conductor Paavo Järvi play Brahms–Schoenberg and Bacewicz to the hilt. 

The Berlin Phil celebrates Seong-Jin Cho's recently inaugurated residency with a Hungarian-themed chamber concert.

Yannick Nézet-Séguin brings surprising intimacy to Bruckner's Seventh Symphony, which contrasts his Romantic approach to Beethoven's Second Piano Concerto.

Peu mémorable dans Ravel, le pianiste sud-coréen marque les esprits dans une foudroyante interprétation de la Deuxième Année de pèlerinage de Liszt, après un beau récital de Jodyline Gallavardin.

The BBC Symphony Orchestra shines in Strauss, in particular the characterful woodwind solos and the fulsomely resplendent brass. 

Dans un programme 100% français qui représente pourtant le cœur de leur répertoire, l'orchestre et son directeur musical ont paru empruntés, au contraire d'un Seong-Jin Cho inspiré dans Saint-Saëns.

Seong-Jin Cho joins the London Philharmonic Orchestra for polished Beethoven before Edward Gardner continues his advocacy of Michael Tippett. 

Seong-Jin Cho is the scampering left-hand soloist in Ravel's “Gershwin meets Boléro” concerto. 

Spanning over a hundred years, this highly charged, sensuous programme of López Bellido, Ravel and Scriabin proved that composers’ fascination with orchestral colours has not faded.

Rouvali's Sibelius completely misses the mark, but his Shostakovich is thrilling and vibrant.

The Boston Symphony Orchestra meet the virtuosic demands of Bartók's Concerto for Orchestra with impressive ease; Mozart's Piano Concerto no. 9 is played with skill and accuracy by Seong-Jin Cho.

Under Kazuki Yamada, the City of Birmingham Symphony Orchestra gives one of its finest performances in years, in a concert featuring music by Holst, Beethoven and Rachmaninov. 

The Czech Philharmonic give sharp, spirited performances of cutting-edge compositions, including the world premiere of Thierry Escaich's new piano concerto. 

The Korean pianist gives his first solo recital at the Barbican, focussed around Handel, Brahms and variation form. 

The astonishing Korean pianist faces a David vs Goliath contest in Brahms' Second Piano Concerto. 

The main concert of their Edinburgh International Festival residency showed off conductor Santtu-Matias Rouvali's fluid style and soloist Seong-Jin Cho's masterful musicianship.

Tras diez años juntos y avanzando hacia la excelencia Dima Slobodeniouk cierra su etapa con la Sinfónica de Galicia en un concierto para el recuerdo.

El joven pianista Seong-Jin Cho, ganador del Concurso Chopin en 2015, aborda en el Ciclo Scherzo un programa brillante y complejo.

If some aspects of his interpretations sounded here more spontaneous than settled, that is one reason we go to live concerts.

In his busy Mariinsky schedule, Valery Gergiev squeezes in a visit to the Munich Philharmonic, joined by poetic pianist Seong-Jin Cho. 

Pastoral repose and granitic grandeur in an awe-inspiring performance of Sibelius' Second Symphony. 

Making his Proms debut, Cristian Măcelaru opened the evening with music from his countryman, Constantin Silvestri, before tackling Prokofiev and Rachmaninov.

La Mahler Chamber Orchestra inaugura la 68 edición del Festival Internacional de Santander con Jakub Hrůša en la direccion.

Gianandrea Noseda's Shostakovich symphony cycle with the London Symphony Orchestra took us right back to the composer's student days, with the punchy First. 

Seong-Jin Cho's mixture of virtuosic and poetic dispositions, of fierce and restraint temperaments were constantly present during the entire recital.

The European Union Youth Orchestra confirms its exceptional quality in Zubel and Tchaikovsky. In Chopin, Seong-Jin Cho shows why he is a rising star of distinction.

In a passionate and evocative programme, South Korean pianist Seong-Jin Cho shows that his interpretive skills can start to blossom beyond mere technical prowess. 

Sir Simon Rattle and the Berlin Philharmonic Orchestra are at a distance from performing at their usual top form in their returning concert in Hong Kong.

Torrential downpours and the croaking of consumptive frogs fail to dampen spirits at Wolf Trap's National Symphony Orchestra concert featuring pianist Seong-Jin Cho, JoAnn Falletta and a massive community chorus.

Une belle idée sous-tend cette « Nuit Chopin », en compagnie des deux lauréats du dernier Concours de Varsovie, celle d’en rejouer la Finale. Voilà le public confronté aux mêmes œuvres, aux mêmes musiciens : Charles Richard-Hamelin et Seong-Jin Cho, accompagnés par Aziz Shokhakimov à la tête du Sinfonia Varsovia.

Les extraordinaires débuts du jeune prodige coréen à l’Auditorium de Lyon

Having watched the web live-stream of Seong-Jin Cho’s performances at last year’s Chopin Competition and subsequently listened to the live CD as well, I already had a fair idea of his playing.

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?