Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Symphonie Nr. 44 in e-Moll "Trauersymphonie", Hob.I:44

Mit der Interpretation von Haydns Cellokonzert in C-Dur lässt die junge russische Künstlerin aufhorchen. Der Dirigent Semyon Bychkov und das Tonhalle-Orchester Zürich tragen das Ihre dazu bei. 

Im unweigerlichen Vergleich zum Haydn2032-Projekt mit Antonini fielen vor allem ein entspannterer, leicht lyrisch-kantablerer, gemäßigterer Ansatz mit Jacobs-typischen Solo-Ripieno-Eingriffen auf.

Haydn und Brahms stehen am Programm eines eindrucksvollen Konzertes in der Philharmonie Berlin.

Lars Ulrik Mortensen versetzte in drei unvergessliche Rausche, weil in ihm und dem Ensemble lebendiger Haydn-Witz und kraftstrotzende Haydn-Klasse steckten.

Stephen Layton conducts Haydn and Handel, and is joined by soprano Sara Macliver for Bach and Mozart for a joyful evening. 

JoAnn Falletta and the Buffalo Philharmonic's string players present intense Shostakovich and luminous Arensky in memorable performances.

The dazzling program of Mozart and Haydn also included a rarity from the French-Black composer Joseph Bologne, Chevalier de Saint-Georges.

Singing as well as conducting, Barbara Hannigan leads the GSO in symphonies by Haydn and Mahler. 

Problems of balance in the first half of Sinfonietta Riga's "European Christmas" concert are followed by excellent Kraus and Haydn in the second.

Ronald Brautigam brought the Kölner Akademie to the Concertgebouw for an ode to Mozart as part of the Robeco Summer Nights Festival. 

Un Requiem Allemand d’anthologie à Munich. Yannick Nézet-Séguin s’affirme de plus en plus comme l’un des chefs les plus doués de sa génération.

Imaginative keyboard leadership from visiting director Richard Egarr a highlight in his programme with the Australian Chamber Orchestra's 'Golden Age' tour.

One of today’s foremost violists, Lawrence Power joined a Scottish Ensemble augmented by two horns and two oboes for this typically boldly-programmed concert. The centrepiece was a new work by Luke Bedford, first composer-in-residence at the Wigmore Hall, written for the same musical forces as Mozart’s Sinfonia Concertante, which ended the evening.

Violist Lawrence Power, appropriately enough, produces a powerful, beautiful sound. Many public speakers would envy his musical charisma; when he begins a phrase you simply have to hear how it ends. His appearance as guest of the Scottish Ensemble saw him as joint soloist in two works and soloist proper in another.