Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Cellokonzert Nr. 1 in C-Dur, Hob.VIIb:1

Im Konzert der Orpheum Stiftung waren die Bamberger unter dem sorgfältig gestaltenden Christoph Eschenbach einfühlsame Begleiter zweier hervorragender Jungtalente, des Cellisten Pablo Ferrández und des Pianisten Dmitry Masleev.

Steven Isserlis bescherte dem Tonhalle-Publikum musikalische Momente unsäglichen Glücks.

Mit einem eindrucksvollen Finalkonzert mit dem WDR-Sinfonieorchester und Gautier Capucon endete der Heidelberger Frühling, der dieses Jahr unter dem Motto „Freiheit wagen“ stand.

Cellist Stéphane Tétreault's rendtion of Haydn's Cello Concerto no. 1 in C major was the highlight of the evening.

Mr Tsuyoshi Tsutsumi had wisdom and depth in his sound, while the young were eager and energetic.

Aplaudimos la presencia de una orquesta madrileña que se orienta hacia la interpretación historicista con instrumentos de época y que además propone la visibilidad del repertorio español.

Une rencontre entre deux musiciens au sommet de leur art dans des bijoux de Haydn et Carl Philipp Emanuel Bach.

Herbert Blomstedt returns to the Boston Symphony for a rewarding matinee program of Haydn and Brahms. 

Un viaje a la corte de Esterházy para no solo revivir la elegancia, la pureza y la armonía clásica de Haydn, sino también la pasión interpretativa de Paulo Gaio Lima.

Jamie Phillips dirige avec une joie communicative un Orchestre de la Suisse Romande en forme et qui virevoltera d’Haydn en Prokofiev dans un bonheur juvénile, à l’instar du Concerto de Haydn sous l’archet d’un Johannes Moser enjoué !

Ádám Fischer and the Orchestra of the Age of Enlightenment gave a thrilling account of Beethoven's Seventh, and there was much to admire in Steven Isserlis' intelligent reading of Hadyn's Cello Concerto no. 1.

il existe d’autres conceptions de la Pastorale, mais la conviction avec laquelle Nézet-Séguin et l'Orchestre de Chambre ont imposé la leur à la Philharmonie faisait taire toute objection de principe.

It is a testament to Ma’s power as a musical force that, despite the typhoon-related weather raging outside, the auditorium was packed to capacity. 

Challenging musical norms and blurring the lines between genres, Manchester Camerata shows off its "restless ambition" at the RNCM.

Rafael Payare's energetic conducting of his Ulster Orchestra in Tchaikovsky, Haydn and Hellawell showed how fortunate Belfast is to still have this skilled musical force. 

Variety, energy and drama with Long Yu and the Hong Kong Philharmonic.

Programa tan repleto de lugares comunes como versiones honestas de éstos, en un concierto de sonrisa clara y sencillo abandono.

Detlev Glanert's homage to Johannes Brahms as a curtain-raiser to Paul Watkins' performance of Haydn's C major cello concerto and a welcome anticipation of Brahms' first symphony conducted by Semyon Bychkov.

Jonathan Nott, Johannes Moser, and the CSO portray a traditional program in particularly evocative fashion

El chelista Gustafsson ofreció una versión del concierto de Haydn llena de vitalidad bajo una acertada dirección de Josep Pons al frente de la OSG.

The orchestra's principal cellist Mark Kosower gave a performance of Haydn's Concerto in C notable for its transparency and grace at this late summer Blossom Festival concert.

One of the pleasures of live music-making is seeing as well as hearing: one gets a sense of a performance as a multi-layered communicative act rather than solely as a sequence of beautiful sounds. In Saturday evening’s ACO concert with the extraordinary cellist Giovanni Sollima as soloist, the visual dimension contributed more than usual to the effect of the whole. 

While this concert’s marketing was focused on Mozart’s Requiem, it was Haydn in the first half that made the greater impact, in the form of an ecstatically virtuosic performance of his Cello Concerto no. 1 with soloist Alban Gerhardt. Passagework was everywhere immaculately tuned and played with perfect dexterity, Gerhardt’s fingers dancing up and down the instrument with tremendous velocity.

For whatever reason, performers have always seemed to fear the fourth wall. They are content to let their music speak for itself, and any attempt to address the audience verbally is often considered lowbrow. This makes sense in some regards, as it facilitates the image of performer as master and lends artistic integrity to the music.

Anticipation is running high for the kick off of San Francisco Opera’s summer season on Friday, June 8, 2012, with the local premiere of John Adams’s Nixon in China. As a sort of appetizer to the five-week season music director Nicola Luisotti and his players gave an orchestral concert on June 3 at Zellerbach Hall in Berkeley.

The European Union is not something one would normally expect to be associated with music, but their chamber orchestra is exceptional. Formed in 1981, they now have a worldwide reputation as musical ambassadors. Opening an evening of style and grace at St George’s, Bristol with Handel’s Arrival of the Queen of Sheba, the orchestra gave an air of confidence.