Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Tannhäuser: Ouvertüre

Dem Publikum engeren Kontakt zu den Künstlern zu gewähren könnte ein Schlüssel für das Überleben einer zusehends elitären Unterhaltungsform sein.

Une expérience aussi singulière que revigorante à Gaveau : 4 pianistes sur 4 pianos. Hélène Mercier, Ferhan Önder, Cyprien Katsaris et Janis Vakarelis nous font réentendre des tubes de la musique classique dans une complicité partagée.  

Wagner and hard-driven Brahms counter a silky smooth performance of Weber's First Clarinet Concerto.

It was only in the final moments of The Firebird that the orchestra let themselves go, following a series of sensitive and transparent performances.

A marvellous Saint-Saëns “Organ Symphony” makes great use of the Adelaide Town Hall organ. 

Debussy's newly unearthed Première Suite d’orchestre, hitherto unheard in the UK, was presented in the context of music that may have inspired him.

Runnicles presents a concert weighted towards a splendid second half.

Une ambition affichée : faire sonner l’infini des possibles du plus monumental des instruments sur des partitions qui ne lui sont pourtant pas destinées. 

Richard Farnes and the CBSO give disappointing readings of Wagner and Sibelius, with only the Beethoven Fourth rising above routine.

Martha Argerich shows her star quality in an extraordinary, intimate rendering of Liszt's First Piano Concerto; the West-Eastern Divan orchestra make a big political statement in performing Wagner.

The Bournemouth Symphony Orchestra produced a varied programme at their Lighthouse concert, but with mixed results: illuminating Walton, but uneven Sibelius.

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

A decadent romantic programme of Wagner and Mahler, where Nathalie Stutzmann delivered a scintillating performance particularly in Wagner's Prelude.

La OFUNAM ofreció un programa de degustación del catálogo de Wagner con la participación de la soprano Othalie Graham interpretando selecciones de Tristán e Isolda y de El ocaso de los dioses

Lang Lang powers through Grieg's Piano Concerto to general acclaim.

C'est avec un professionnalisme et une dignité émouvante que les musiciens de l'OPS ainsi que leur chef invité se sont acquittés de la tâche ardue de jouer dans ces circonstances de deuil national.  

Compelling offerings from Petrenko with the RLPO in romantic works, while Ning Feng dazzles with his poetry and extraordinary tone. 

In his 2011 book Verdi and/or Wagner, currently doing the rounds in libraries across the UK for obvious reasons, Peter Conrad devotes the best of 400 pages to essentially draw all sorts of divisive lines: the sensual Italian song versus the cerebral German symphony; the radically different conceptions of tragedy (“Tragedy in Wagner is an act of will […] Verdi’s characters, unlike Wagner’s,

It may have been the autumn equinox, but this evening spring came to a balmy Birmingham, meteorologically and musically. Symphony Hall was abuzz in anticipation of Stravinsky’s The Rite of Spring in the piece’s centenary year, but the concert – and the 2013/14 season – was launched with Wagner’s Tannhäuser overture.

The Toronto Symphony’s 92nd season’s gala featured three works connected to operas, and who better to bring out the singing quality and dramatic storytelling of a piano score than pianist Lang Lang.

The New Zealand Symphony Orchestra really has the perfect Wagner sound. Their full, vibrant string tone and magnificent pealing brass were fully in evidence in a thrilling rendition of the concert version of the overture from Tannhäuser.

The orchestra of the Metropolitan Opera House rarely gets out of its pit, but when it does, it plays at Carnegie Hall. Carnegie has a rather different acoustic to the Met – much more closely-held, much more intense – and its unforgiving glare occasionally presented one challenge too many for the MET Orchestra. Still, they acquitted themselves well in this matinée.

Juanjo Mena launched the BBC Philharmonic’s season with an all-Wagner programme which, despite some small faults, featured some excellent playing.The main issue was soprano Brigitte Hahn’s projection, particularly in the Götterdämmerung finale.

It sounds almost like heresy to describe a Beethoven composition as “light”, but it would be appropriate for the Hong Kong Philharmonic Orchestra’s concert on Saturday. His Symphony No. 6 in F, Op. 68, Pastoral, was like soufflé to the crème brûlée of Elgar’s Cello Concerto and Wagner’s Tannhäuser overture.