Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Violinkonzert Nr. 1, Sz 36

Gidon Kremer konnte bei Bartóks Erstem Violinkonzert seine ganze Kunst vorführen. Markus Poschner dirigierte Mahlers Erste Symphonie.

Vilde Frang zeigte in der Berliner Phlharmonie ihre ganze leidenschaftliche Ausdruckskraft bei der Interpretation dieses Meisterwerks.

Unter der Leitung von David Afkham spielten die Göteborger Symphoniker eine kluge und transparente Aufführung von Beethovens Fünfter Symphonie.

Bei Bartok konnten die Wiener Symphoniker unter Jonathan Nott glänzen, bei Bruckner präsentierten sie sich leider zu undifferenziert. Höhepunkt des Abends war jedoch ohnedies das emotionsgeladene Spiel der Geigerin Vilde Frang.

Duncan Ward leads a varied programme from Bartók and Janáček to Chausson, closing with a benchmark performance of La Mer. 

Iván Fischer mixes things up for Schubert's “Great C major” Symphony with an unusual seating arrangement. 

Daniel Harding and the Swedish Radio Symphony Orchestra bring their own fireworks to the festival finale.

Alexandra Conunova remplace au pied levé Janine Jansen dans un Bartók énergique mais imparfait. Avec Jukka-Pekka Saraste, l'Orchestre de Paris brille davantage dans une Cinquième de Mahler galvanisée.

El concierto de la Orquesta Sinfónica de Tenerife titulado “ Bartók y el violín” presentó a la violinista holandesa Simone Lamsma y al director británico Alexander Shelley en un programa con obras de Stravinsky, Bartók y Ravel.

Renaud Capuçon shines in Bartók's two Violin Concertos, together with a strong Concerto for Orchestra from the BBCSO and Péter Eötvös, at the Festival Printemps des Arts de Monte-Carlo.

Una compacta y compenetrada Orchestre Philharmonique du Luxembourg bajo la atenta dirección de Gustavo Gimeno ofreció obras de Mahler y Bartok con las solistas Vilde Frang y Miah Persson.

Simone Lamsma gave an intense, exciting and witty performance of Bartók's love song with the Belgrade Philharmonic and Daniel Raiskin, plus Beethoven, Weber and Strauss.

It was Omer Meir Wellber’s turn to conduct the City of Birmingham Symphony Orchestra in its first concert of the new season, a programme of music by Dvořák and Bartók which promised to be the perfect antidote to the Daily Grind.

L'ONL est un orchestre au son typé, et quand les chefs invités ne parviennent pas à inscrire leur pensée musicale dans sa tradition, ça ne passe pas. 

CSO concertmaster Robert Chen took the spotlight in two 20th-century works with Neeme Järvi conducting; anchoring the program was Beethoven’s Pastoral.

Daniel Harding and the LSO gave a spirited performance of Dvořák's folk-inspired Eighth Symphony, while Lisa Batiashvili lived and breathed Bartók's lovestruck infatuation in his First Violin Concerto.

The return of Andris Nelsons for the Seventh in his complete cycle of Shostakovich symphonies with the Royal Concertgebouw Orchestra demonstrated yet again the marvelous chemistry between the two. 

Though Janine Jansen's Bartok impresses, Pappano and the LSO disappoint in two of Ravel and Tchaikovsky's best-loved works

Lisa Batiashvili joins the Philadelphia Orchestra and Yannick Nézet-Séguin for smooth, suave Bartók, but Bruckner's Ninth doesn't quite cohere.

The Budapest Festival Orchestra has played in Edinburgh before to great critical acclaim. Consequently, it was only to be expected that their concert last Sunday would be well attended, despite a late change of soloist. In fact, it was a virtual sell-out and we were not disappointed.

Vladimir Jurowski and the London Philharmonic Orchestra planned to visit Hungary. but the tour didn't come off for reasons beyond their control. But the programmes they chose remained for the two London concerts on 26th and 29th January at the Royal Festival Hall. Big, complex programmes, held together by their references to separate Austrian and Hungarian traditions.