Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Thomas Søndergård

Thomas Søndergård and Steven Osborne make a well matched team in music ranging from Mozart to the fin-de-siècle.

RSNO Season opens in Dundee on Vienna’s Golden Age, Søndergård conducting a boisterous Don Juan, Karen Cargill singing Berg Seven Early Songs and a sparkling Mahler Symphony no 1.

Søndergård’s all-consuming Mahler dwarfs some delightful Mozart in Edinburgh

Thomas Søndergård's Bruckner sound with the Royal Scottish National Orchestra leaves one hungry for more.

RSNO’s sparkling Prokofiev, heroic Tchaikovsky and lush Poulenc which celebrated 175 years of the RSNO Chorus was eclipsed by 80 Glasgow schoolboys who sang their hearts out with three songs from All Those Men Who Marched Away.

Thomas Søndergård and the RSNO with a beguiling performance of Ravel’s Schéhérazade from Catriona Morison, vivid Peer Gynt from Grieg and a vibrant Rachmaninov’s First Symphony

Thomas Søndergård’s final performance as chief of the BBC National Orchestra of Wales sees them pull off Mahler 8 in style.

To works by Mendelssohn and Schumann, Søndergård added music by two impressive female composers who died far too young and whose works are far less known than they should be, Lili Boulanger and Morfydd Owen. 

Thomas Søndergård again pairs Brahms with Strauss in excellent performances with the RSNO in Edinburgh. 

Autour de la figure beethovénienne, l'ONCT recevait le chef danois Thomas Søndergård, habitué des grands orchestres européens et nord-américains et promoteur du répertoire scandinave, ainsi que le jeune virtuose tchèque Josef Špaček.

The musical riches provided notwithstanding, much was desired in the dazzling orchestral showpieces of the evening.

Thomas Søndergård's Scheherezade is overactive, but their concerto soloist is one of the family

Thomas Søndergård conducts the BBC National Orchestra of Wales in Mosolov, Shostakovich and Beethoven with Igor Levit

Some rare and some great Shostakovich meet in concert while the BBC National Orchestra of Wales make an engrossing case for Sibelius' great Second Symphony.

Vivid playing thrills at the Proms, but fell short of engrossing storytelling.

A thrilling finale to the 2017 Cardiff Singer of the World

Iréne Theorin gives a powerful interpretation of Salome and Elektra's mad scenes in a concert including Also sprach Zarathustra and a contemporary composition.

Glowing Tchaikovsky from Barry Douglas coupled with an intelligently driven performance of Prokofiev's Sixth Symphony by the LSO under Thomas Søndergård.

The RSNO’s latest concert was entitled “Dvořák Cello Concerto”, but it was Thomas Søndergård's brilliant direction of Shostakovich's Fifth Symphony which proved the highlight. 

Sibelius' Violin Concerto nestles beside Mahlerian flowers in the Royal Scottish National Orchestra's concert under Thomas Søndergård.

Sergej Krylov makes a superb case for Andzej Panufnik's Violin Concerto; Søndergard and the LPO disappoint in Sibelius but thrill with Shostakovich's Symphony no. 5.

Bright and energetic Walton and a promising, highly lyrical Concerto from Watkins, followed by taut Webern and commanding Brahms from Søndergård and the BBC National Orchestra of Wales.

In the first of two successive Proms appearances, the BBC National Orchestra of Wales gave solid performances of two popular scores from the central European repertoire. Malcolm Hayes’s new work, however, proved to be the highlight of the evening. 

The Atlanta Symphony Orchestra, conducted by Thomas Søndergård, was joined by pianist Alexandre Tharaud, presenting strong performances of familiar French composers.

In a quirky programme featuring English, Welsh and Russian music the BBC National Orchestra and Chorus of Wales began their new season at St David’s Hall showcasing, with mixed results, their composer-in-association Huw Watkins, Elgar and three Russian composers at different stages in their careers.

Making its fourth Proms appearance this season, the BBC National Orchestra transported the audience from the Orient in Nielsen’s Aladdin, to Ancient Greece for a world première, then to heaven in Mahler’s Symphony no. 4.

The celebratory, cerebral and contradictory elements inherent in this diverse programme of Haydn, Mozart, Poulenc and Stravinsky didn’t quite disguise some uneven performances in Søndergård’s third prom concert.

The BBC's Ten Pieces project culminates in a spectacular Proms event, some of it confusing for adults, but all well-received by the children.

Cardiff Castle hosted an entertaining bout of medieval jousting yesterday afternoon, but in the evening all eyes and ears turned to the vocal jousting in St David’s Hall.

Thomas Søndergård and the RSNO in an evening of minor key late symphonies separated by a dazzling clarinet concerto.

B Tommy Andersson's music promises more than it delivers in this showcase concert with the BBC National Orchestra of Wales. 

Thomas Søndergård's over-subtle touch in conducting Haydn, Beethoven and Mozart has some delicate colouring but fails to reach the deeper drama.

The RSNO shine in Strauss' and Bartók's contrasting responses to war, dislocation and loss, Metamorphosen and the Concerto for Orchestra.

Inspired by the sight of sixteen swans in flight, the great swinging horn call in the final movement of Sibelius Fifth Symphony is one of the most life-affirming moments in the composer’s output. If this ‘Swan Hymn’ glowed rather than blazed brightly last night, it was the journey there which impressed in the hands of Thomas Søndergård, Principal Conductor of the BBC National Orchestra of Wales.

Birthday boy Richard Strauss was celebrated again at the Proms with two early works, one an acknowledged masterpiece and the other a problem child, in an odd programme that included works by Mozart and Nielsen from the BBC NOW.

RSNO, Søndergård and Frang perform a thoughtful programme of dislocation and migration: Dean, Britten and Dvořák.

Søndergård and the RSNO delight with a joyous performance of Turangalîla-symphonie, Messiaen's monumental portrait of love and play on a cosmic scale.

At the Salle Pleyel, the Orchestre National d’Île-de-France performed a new piece by Alberto Colla, Mendelssohn’s famous Violin Concerto with James Ehnes, and Brahms’ Second Symphony, all conducted by Danish conductor Thomas Søndergård.

I find it difficult to remember the last time I attended a concert in which I was met with just about everything that I wanted to hear, settled alongside facets of performance that I hadn’t yet encountered. Perhaps tonight was, indeed, my first such experience.Thomas Søndergård’s rendition of Poulenc’s Gloria realised everything that I find I intuitively hope to hear from it.

Thursday’s concert with the Oslo Philharmonic might not have featured the most exciting programme, dominated by what one might call the less exciting (but no less beautiful) parts of Eastern European Romanticism, although it still provided ample opportunity for engaging music-making. The remainder, however, proved to be some of the most exciting music I’d heard in quite a while.

The perky new conductor of the BBC National Orchestra of Wales, Thomas Søndergård, made his second Proms outing with an exciting programme of contrasting works which kicked off with the first UK performance of Colin Matthews’ Turning Point.First performed by the Amsterdam Concertgebouw Orchestra in 2006, Turning Point is an eighteen-minute work of considerable technical skill.

Thomas Søndergård made his BBC Proms debut at the end of a successful first season at the helm of the BBC National Orchestra of Wales, bringing a hefty programme of Stenhammar, Szymanowski and Strauss to the Royal Albert Hall.It was a fascinating programme, with a first half of relatively underperformed works prefacing Strauss’ popular Alpine Symphony.

There’s something heartwarming in stories of friends’ differences resolved. Hanuš Wihan had requested a cello concerto of Dvořák, who declined on the grounds that, although a fine orchestral instrument, the cello was not suited to the solo spotlight. The change of heart, occasioned by Victor Herbert’s Second Cello Concerto, is to all our benefits.

An obsessively man-hating princess, a slave girl who really needs to open up a bit more about her feelings, a prince who actually fell in love at first sight, and an unhealthily large dose of exoticism? Why, it can only be Puccini’s Turandot.

The RSNO’s Naked Classics series continues to draw sizeable crowds, and it’s not difficult to see why. A single work is dissected and then, after the interval, performed. Admirably, even the analytical first half opens with music; a passage from the piece at hand is played before the presenter takes the stage.Paul Rissmann continues to impress in this role.

The pre-concert talk is a firm favourite with many RSNO regulars. Situated in what feels like an impromptu chapel near the Upper Circle Bar, this 25-minute exploration attracts a congregation which spills well beyond the hundred or so seats laid out.

If asked to single out one moment which illustrates the value of dynamic contrast in music, I might choose 'Montagues and Capulets' from Prokofiev's ballet Romeo and Juliet. As a prelude to this 'Naked Classics' exploration the RSNO played a short extract of the movement.

This late-season concert in the intimate BBC Hoddinott Hall was Thomas Søndergård’s first as Principal Conductor Designate of the BBC National Orchestra of Wales, following his appointment to the role this week. The concert featured three pieces all looking to the future, in some way: Sibelius’ En Saga, a Prokofiev Violin Concerto and Dvořák’s New World Symphony.