Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Daniele Gatti

Ein vielschichtiger Konzertabend mit dem Koninklijk Concertgebouworkest, der aktuelle Werke aus der Zeit um den zweiten Weltkrieg wirkungsvoll kombiniert.

Während Gatti in der Genoveva-Ouvertüre seine Stärken als Operndirigent ausleben konnte, dominierte im Mahler Chamber Orchestra die Spielfreude und das Engagement.

In einer sehr ausgefeilten farbigen Interpretation von Mahlers Erster Symphonie setzte Chefdirigent Gatti die bedeutende Mahlertradition des Royal Concertgebouw Orchesters fort.

Das für die Klanglichkeit der Markuskirche in Venedig konzipierte Werk Wolfgang Rihms konnte sich im KKL ideal ausbreiten, füllte den Raum, nutzte ihn als Resonanzkörper.

Der neue Chefdirigent Daniele Gatti führte das Concertgebouw-Orchester und eine feurige Sol Gabetta durch das Pariser Konzertprogramm.

Ein Osterfestspielabend voll von großer Musik gespielt von einzigartigen Musikern: Arcadi Volodos fasziniert das Salzburger Publikum und harmoniert vortrefflich mit der Staatskapelle Dresden.

Mozart und Bruckner haben inhatlich nicht unbedingt viel miteinander zu tun. Lang Langs Interpretation mit Mozarts kompositorischen Ideen leider auch nicht. Gewohnt brilliant sind dafür Daniele Gatti und die Wiener Philharmoniker. Auch bei den Festspielen kann nicht alles perfekt sein. 

Sehensüchtig erwartet und groß gefeiert: Anna Netrebko und Plácido Domingo glänzen in der diesjährigen Produktion von Verids Il Trovatore bei den Salzburger Festspielen und erfüllen die Erwartungen des Publikums mit Dramatik und Glanz. Auch wenn manchmal der Sinnzusammenhang fehlt, hat diese Inszenierung einiges zu bieten.

Living in an environment influenced by French culture, Verdi saw the chance of breathing new life into the Italian opera through the grand-opéra. Les Vêpres siciliennes is his successful attempt.

Italian sunshine and Austrian spring days evoked in a programmes containing two symphonies at the Royal Festival Hall. 

Jansen is an artist of such great musicianship that she was able to instill new life to Bruch's First Violin Concerto.

In Wagner and Bruckner, Daniele Gatti is proving to be a great standard-bearer for one of the world’s greatest ensemble’s traditional values

Michieletto's production for the Teatro dell'Opera in Rome is fresh, intelligent and destined to go down as one of his best. 

The Concertgebouw's distinctive sound has remained intact. Ripe lower strings meld with limpid winds and sculpted horns emerge slowly into the foreground all gleaming and glistening.

The Concertgebouw and Daniele Gatti paint two very different pictures of Old Vienna: a maddeningly lifeless view of a Haydn symphony and a magical realisation of Mahler's shortest symphonic work.

Gatti and the Concertgebouw produce ravishing beauty in Bruckner 9; Rihm's In-Schrift fails to convince.

In an elegant new production by Ivo van Hove, Malin Byström portrays a graceful, erotic Salome and the RCO play with sensuous lyricism under Daniele Gatti.

Daniele Gatti is the winner of the night, managing to draw an astounding outcome from a far from ideal cast.

A truly remarkable performance of Stravinky's Sacre by the Royal Concertgebouw Orchestra and Daniele Gatti.

The concluding concert in the Amsterdammers’ brief Barbican residency mixed youthful promise with a programme that seemed to sum up 2016’s angst and fears.

Sparks fly in a vibrant new relationship between Daniele Gatti and the Concertgebouw, together with unflappable virtuosity from Lisa Batiashvili.

Pour la première de la saison lyrique romaine, Daniele Gatti amenait l’Orchestra e Coro del Teatro dell’Opera di Roma dans un Richard Wagner épuré.

The RCO marked the investiture of Daniele Gatti as its seventh chief conductor with a sampler programme featuring Mahler, opera, and an expansive, glittering version of Respighi’s Fountains of Rome.

The RCO under its newly appointed chief conductor Daniele Gatti give a gripping programme of Romantic music. Soloist Gabetta impresses tremendously as well. 

Simbiosis ideal entre un conjunto envidiable y una batuta que, lejos de pasar el trámite de hacerse cargo del programa de un colega de profesión, hizo suya la oportunidad y buscó dejar su sello en las interpretaciones de unas obras clave dentro del repertorio sinfónico.

Pour ce Tristan und Isolde proposé au Théâtre des Champs-Elysées, Daniele Gatti dirige un Orchestre National de France très inspiré et un duo vocal en or, Torsten Kerl et Rachel Nicholls, étoiles d'une distribution équilibrée. Une production vraiment satisfaisante, dans une mise en scène soignée de Pierre Audi.

At the basic level Tristan und Isolde is an opera of hormones, not happenings; fathoms deeper it explores human experience at a point where sense is dumb and flesh retires – as close to heaven and hell as it’s possible to go without first having to die.

An intense experience as the RCO explores programme music depicting poets, musicians and artists. 

Les mélomanes les plus patriotes se réjouiront que le Prélude à l’après-midi d’un faune, poème symphonique le plus célèbre de Debussy et inspiré par Mallarmé, engage cet impressionnant récital de l’ONF sur les terres américaines. 

Daniele Gatti illuminates Robert Carsen's blithe Falstaff narrative

The two Danieles – Gatti and Abbado – triumphed in the final opera of the 78th Maggio Musicale Fiorentino, with a heavenly new production of Debussy’s Pelléas et Mélisande.

Pour son unique apparition à Paris cette saison, Anna Netrebko a déployé dans les Quatre Derniers Lieder de Richard Strauss une vocalité impériale mais n'a pas réussi à émouvoir. Dans Berlioz et Prokofiev en revanche Daniele Gatti était plus inspiré.

Une magnifique production du Macbeth de Verdi au Théâtre des Champs-Élysées avec l'Orchestre National de France et Daniele Gatti à la direction.

Cuando el director lleva la contraria al compositor: Gatti saca la cuarta sinfonía de Tchaikovsky del lado oscuro

The Vienna Philharmonic, the Westminster Symphonic Choir, Diana Damrau and Christian Gerhaher present a sublime Brahms Requiem on a snowy Sunday afternoon. 

The Vienna Philharmonic, under the direction of Maestro Daniele Gatti, perform impressive accounts of Brahms’ Second and Fourth symphonies. 

A meaty programme of Brahms from the Wiener Philharmoniker and Daniele Gatti.  

On home ground, the Royal Concertgebouw Orchestra played sensationally in Daniele Gatti’s intensely theatrical and impossibly beautiful Mahler 3.

A superlative Berg Violin Concerto with Leonidas Kavakos makes up for disappointing Schumann from Gatti. 

The stuff of fairy tales: a true love match. Daniele Gatti has already successfully moved into Amsterdam's royal palace. 

Ambrogio Maestri reprises his star turn as a vocally and theatrically complete Falstaff in Robert Carsen’s lavish, food-fuelled situational comedy at the Holland Festival.

From introspective Mahler to flowing Schumann, Claudio Abbado is remembered at a concert with the Mahler Chamber Orchestra in Dresden's Frauenkirche.

A fine performance of Mahler's Symphony no. 7 from London Symphony Orchestra and Daniele Gatti, which finds joy in confusion, but can’t quite transcend the chaos. 

It is the rare concert for which one can say that each half of the program would have sufficed as the sole offering of the night; when each half contains personality, wisdom, a sense of history, life-risking music-making, and attractive and important repertoire.

With the exception of the St Petersburg Symphony, the Royal Concertgebouw Orchestra is the only one I can recall walking onto a silent, empty, Usher Hall stage en masse. I don't know why this feature should strike me so – perhaps mere schoolteacher overtones. The welcome was warm and sustained until all 115 members were in place for Mahler’s monumental Symphony no.

Every once in a while, I hear a concert that grips me from the first note and doesn’t let go until the very last. Daniele Gatti and the Philharmonia’s performance of Verdi’s Requiem at the Royal Festival Hall was such a concert.There are some caveats to make: I’m not catholic, I’m not very religious and I’m not particularly steeped in the tradition of liturgical music.

The Wagner bicentennial marches on, bringing grand sounds from practically every corner of the musical earth. What appear most frequently on concert programs are various extracts from the operas, such as the collection of preludes, overture, and vocal and orchestral excerpts offered by the Boston Symphony Orchestra and Daniele Gatti at Carnegie Hall.

Before the music in the Metropolitan Opera’s new Parsifal starts, a black but reflective curtain drapes the front of the stage. It is dim enough not quite to show the audience, but it picks out the chandeliers.

The Gustav Mahler Jugendorchester are known as one of the best youth orchestras in the world, if not the best. As such, they do not shy away from the more difficult repertoire and tonight’s performance of Berg’s Violin Concerto and Mahler’s Symphony no. 7 reaffirmed their reputation.

The Gustav Mahler Jugendorchester is one of the finest youth orchestras in the world. Bringing together young musicians from all over Europe, from Portugal to Russia, it is a model of international co-operation.