Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Symphonie Nr. 10 in e-Moll, Op.93

Eine starke Orchesterleistung lässt mit Schostakowitschs Zehnter anfängliche Unvollkommenheiten vergessen.

Mit vollem Körpereinsatz dirigierte Andris Nelsons sein Boston Symphony Orchestra in Salzburg zu Standing Ovations des gesamten Publikums.

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

Ante la cancelación del insigne Vladimir Fedoseyev, el joven José Antonio Trigueros al frente de la OSG encaró un programa complejo, Shotakovich y Prokofiev, para el que contó además con la presencia de la pianista Varvara.

Grieg's Piano Concerto is the highlight of this closing concert of the Oslo Phil's centenary tour, with Leif Ove Andsnes' exceptional technical skill helping to cast the work in a new and flattering light.

Britten's Cello Symphony and a no-holds-barred account of Shostakovich’s mighty Tenth Symphony at Snape Maltings

Rarement présent sur les scènes françaises, l'Australian Youth Orchestra fait une démonstration de cohésion symphonique dans un programme 100% russe. Interprétation subtile du Concerto pour piano n° 2 de Rachmaninov par Jan Lisiecki.

The venerable Russian maestro and Conductor Laureate led the Philharmonia in an all-Russian programme with sensitive charm, youthful fire, and emotional range, with outstanding soloist Esther Yoo.

La Philharmonia Orchestra, la violinista Esther Yoo y el aclamado director y pianista Vladimir Ashkenazy brindaron al público un programa conformado por dos grandes nombres del repertorio ruso: Tchaikovsky y Shostakovich.

Husband and wife join together with the Ulster Orchestra in Ulster Hall, at the beginning of a year-long féile pairing the music of two twentieth-century giants of symphonic repertoire. 

An in-form Noseda and Benedetti meant that their Shostakovich was never to be lukewarm, as they portrayed the Soviet composer with fire and drama..

Two works of personal victory, written at virtually the same point in history and against a backdrop of suffering, made up this very successful concert conducted by Sir Andrew Davis. 

His gestures might not be the most elegant, but Vladimir Askenazy has a deep understanding of the music he choses to conduct.

Vivid playing thrills at the Proms, but fell short of engrossing storytelling.

Los solistas de la Orquesta Nacional dirigida por David Afkham se mostraron impecables en las intervenciones de la Décima de Shostakovich, y uno por uno, recibieron el merecido reconocimiento del maestro alemán.

Retour attendu que celui de l'ancien directeur musical de l'Orchestre de Paris. Celui qui sut porter à ses sommets la phalange parisienne exerce-t-il le même art avec sa nouvelle formation, l'Orchestra de la NHK de Tokyo ?

In the American heartland, a persuasive evening of musical diplomacy from the St Petersburg Philharmonic.

Donald Runnicles has been principal guest conductor of the Atlanta Symphony Orchestra for about a decade. He has developed a reputation as someone who how can shake things up, in a good way, each time he visits. 

David Afkham scored a successful CSO debut in Shostakovich’s Tenth Symphony and Beethoven First Piano Concerto with Emanuel Ax.

The Tokyo Symphony gave the Japanese première of Shostakovich's Tenth in 1954, less than a year after its first performance in Leningrad. Jonathan Nott’s approach could scarcely have been more different. 

Nesterowicz and the NSO deliver a stunning Shostakovich Symphony 10 while Vähälä captivates with the magical delights of Vasks' Distant Lights.

Celebrating Youth, Music and Education in Roof-Raising Style: Ten Pieces Secondary comes to the BBC Proms 

Un bien beau concerto de Tchaïkovski par le divin Vadim Gluzman, malheureusement la tension ne vint pas du côté de Maestro Yamada qui nous fit louper le train pour la Sibérie… 

Under conductor Krzysztof Urbanski, Zurich’s fine Tonhalle Orchestra recently performed two major works that took their cues from the two great wars.

With Mahler’s arrangement of Bach orchestral suites and Shostakovich’s Tenth Symphony, this concert showcased the many ways that composers have placed musical signatures on their work.

L’affluence était celle des grands soirs en ce 3 septembre pour le début de la saison symphonique à la Philharmonie de Paris. Au programme, deux classiques du répertoire, le « Don Quichotte » de Richard Strauss et la dixième symphonie de Chostakovitch par l’orchestre symphonique de Boston et son jeune et brillant directeur, Andris Nelsons.

A richly varied programme of Haydn, Barber and Shostakovich that mostly played to the strengths of the Boston Symphony Orchestra.

Ms Batiashvili performed her final concert as the New York Philharmonic’s Artist-in-Residence alongside her companion and oboe virtuoso François Leleux in works by two distinguished organist-composers.

Zukerman, master of the violin, viola and baton, displayed his many creative capabilities with panache this weekend with the San Diego Symphony.

“Never look encouragingly at the brass,” was one of Richard Strauss’ conducting commandments. Yuri Temirkanov took this maxim to heart, barely looking at any members of his St Petersburg Philharmonic during an absorbing account of Shostakovich’sSymphony no. 10 in E minor.

The BBC Symphony Orchestra première the first of two late works by John Tavener this Proms season and Isabelle Faust excels in Bartók and Bach. 

An imaginative RSNO programme sandwiching fusionist Gershwin between unbelievably contrasting Shostakovich, seasoned with a little re-titling.

A percussion concerto tribute to natural disasters and a dark snapshot of post-Stalinist Russia make for a compelling programme from the Vienna Symphony Orchestra, Krzysztof Urbański and soloist Martin Grubinger. 

In a pioneering development, the National Youth Orchestras of Scotland have added a new orchestra to its family which now encompasses eight playing groups. There are now three orchestras providing a full development pathway for talented players aged 8 to 25, starting with the Junior Orchestra, through the new Senior Orchestra and culminating in the flagship National Youth Orchestra of Scotland.

As Proms debuts go, this would be difficult to beat. The newly formed National Youth Orchestra of the United States of America (NYO-USA) were fresh – literally, certainly no sign of fatigue – from an intensive two-week training residency followed by a tour which included the tall order of taking Tchaikovsky to Russia.

My return to La Maison Symphonique in Montreal on Wednesday was a bag full of surprises. The Orchestre Symphonique de Montréal opened with a work I didn’t even know was on the programme; the accompanying orchestra put in a stronger showing than the soloist in the concerto; and a difficult symphony was done so well it practically jumped at the audience.

Can Shostakovich without bitterness still be Shostakovich? Can a performer still do justice to his music if their interpretation does not match the style and tone of Soviet-era musicians? These questions rise to the fore as the living memory of Dmitri Shostakovich fades further with every passing year.

At first sight, last night’s London Philharmonic Orchestra concert at the Royal Festival Hall was a typical piece of programming: a well known, relatively undemanding opener, a big symphony to close, and a première of a newly written work sandwiched carefully in between.

The name of last Tuesday’s Hollywood Bowl concert was “Three Russian Masters.” That’s Prokofiev, Stravinsky, and Shostakovich, whose music made up the program that night, by the way. But it wouldn’t be a stretch to say that the audience got to hear a fourth Russian master: pianist Denis Matsuev. The first half of the program was centered around him. Prokofiev’s Piano Concerto no.

I can’t work out if it was surprising or to be expected that Maxwell Davies, part of the New Music Manchester group that included Birtwistle and Goehr, should have become Master of the Queen’s Music.

February 2nd’s Masterworks Concert saw the return of two iconic figures to Toronto’s Roy Thomson Hall. Günther Herbig, TSO music director from 1988-1994 was warmly welcomed back to Toronto to lead the orchestra through the week’s concerts. Pianist Anton Kuerti was also greatly received by the audience, making his 40th appearance with the TSO.

Stravinsky’s Scherzo Fantastique, Op. 3 is one of his earliest works, as its opus number would suggest. There are very few composers who can truly create a fairytale atmosphere in their music, but Stravinsky was one of the best at it.

Sergei Prokofiev’s Ouverture on Hebrew Themes is a 1919 work originally written for clarinet, string quartet and piano, although the composer himself orchestrated it in 1934.

I had high expectations for the evening after being very impressed with an MSSO performance I had seen as a teenager. The first piece on the programme was the Polovtsian Dances from Borodin’s opera, Prince Igor. The performance highlighted both the playful and brutal elements of the piece which made for an exciting performance.