Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Symphonie Nr. 7 in h-Moll "Unvollendete", D.759

Nicht nur Schumanns Messe war erschütternd großartig, auch bei Schubert rieselte es einem, wie schon Clara Schumann, kalt über den Rücken.

Ein leidenschaftlicher Wunschzettel mit außergewöhnlichem Standardrepertoire, bei dem vor allem ein variabler Schubert und ein elektrisierend lebendiger Bartók begeisterten.

Barenboim und die Staatskapelle Berlin bieten eine faszinierende neue Herangehensweise an Schuberts letzte zwei Symphonien im Boulez Saal.

Andris Nelsons und das Gewandhausorchester interpretieren Wagner, Schubert und Bruckner in romantischer Perfektion.

Lars Vogt, Yannick Nézet-Séguin und das London Philharmonic Orchestra bringen frischen Wind in einen deutschen Klassiker.

Clarion details from start to finish result in a spectacular Mahler Fifth from Noseda and the National Symphony Orchestra

The Czech Phil's woodwind are in superb form for a particularly optimistic concert featuring Berio's mercurial Rendering to give us a double dose of Schubert's unfinished symphonic work.

There was vibrancy and subtlety in these cultured performances of Schubert and Lutosławski, with Martha Argerich still showing how it’s done with ‘that’ Tchaikovsky concerto.

The "original instrument" Dresden Festival Orchestra transformed conventional notions of what Brahms, Schumann, and Schubert are all about.

Jump-in concerts can occasionally advance career prospects. Jonathan Bloxham with the Deutsche Kammerphilharmonie Bremen demonstrated the lightness of Mendelssohn in C minor but seriously underplayed the darkness of Schubert in B minor.

Una orquesta con función de acompañante delegó a los cantantes la inmensa tarea de intentar explicar la muerte, o al menos de nombrarla.

Setting aside a disappointing first movement of the Eroica, the Berlin Staatskapelle under Barenboim deliver another polished and persuasive performance in their third Sydney concert.

A programme built on a pair of unfinished symphonies drew variable performances spanning the pedestrian to the powerfully grandiose.

Au milieu d'un week-end « Spirit », Martha Argerich était invitée à donner le Premier Concerto de Liszt. Pärt et Schubert étaient également au programme, par l'Orchestre symphonique de Lucerne.

Storm Large’s version of The Seven Deadly Sins provides a modern update of Weill and Brecht’s take-down of capitalism, misogyny and exploitation.

Pavel Kolesnikov was at the heart and soul of a disappointing concert by the touring Czech orchestra.

Rattle’s versatility was on display in the wide range of the menu, yet he found greater affinity in Schubert and Mahler than in French Baroque. 

On aurait pu craindre, le temps d’une Maurerische Trauermusik nous confirmant l’inadéquation de l’acoustique du TCE à l’effectif symphonique classique, que le choix de l’économie et de la joliesse, au détriment de l’émotion et de la profondeur, ne vienne blanchir la dureté d’un programme composé de véritables chefs-d’œuvre.

It is dramaturgically risky pitting one musically dark and unfinished work against another. Thomas Dausgaard and the BBC Scottish Symphony Orchestra rose to the challenge in Schubert and Mahler.

James Conlon led the CSO in Schubert’s Unfinished symphony and Mahler’s Das Lied von der Lied.  Mixed fortunes were had for the singers in the latter, but Conlon and the orchestra provided probing performances throughout.

Not much to set the heart racing in two works of German Romanticism performed by the London Symphony Orchestra and Chorus, conducted by Fabio Luisi.

  Michelle DeYoung and Paul Groves were the soloists in Mahler’s late “symphony with solo voices.” The concert opened with a classically balanced reading of Schubert’s “Unfinished” symphony.

Superb Schubert followed by some altogether more mysterious and disorientating Mahler makes for a Sunday night treat at the Royal Festival Hall with the Philharmonia Orchestra, conducted by Josep Pons. 

Bernard Haitink’s musical insight and interpretative genius continues to mature like a vintage Château Pétrus.

World-class artists collaborate to celebrate Suntory Hall's 30th anniversary. 

Programme réjouissant que celui tourné par l’Orchestre de Chambre de Paris avec Douglas Boyd et leur invité, Viktoria Mullova. Ce soir, les 43 musiciens permanents de l’ensemble nous offrent deux symphonies de Schubert, couplées pour l’occasion au Concerto pour violon de Sibelius. Approche intimiste, sans alibi, sublimée par l’enthousiasme des musiciens.

Michael Tilson Thomas, leading the San Francisco Symphony in an invigorating performance of works by both Schubert and Mahler, emphasized the idea of repetition as an evolution rather than a lie.

San Francisco Symphony presents Mahler’s Das Lied von der Erde in all its glory. The addition of Schubert’s Unfinished Symphony filled out the program, but seemed very much an afterthought.

The stark forces of Nielsen and Britten were ably brought out by Jensen and the NSO; theirSchubert failed to convince. 

Tonight’s all-Germanic program was a selection of items that the Nationa; Symphony Orchestra will be playing next month on the other side of the Atlantic.

If the orchestra's playing was marked by poise and balance, so was the programme taken in its entirety. The buoyancy that had prevailed to now brought out the darker hues of Schubert's “Unfinished” Symphony deliciously.

Standing in for an unwell Andris Nelsons, Birmingham-born Alpesh Chauhan proved a satisfying substitution for a capacity audience at Symphony Hall.

The Baltimore Symphony Orchestra under guest conductor Mario Venzago presented a concert of familiar fare that were treated to exemplary performances. 

Composed for Peter Pears and Dennis Brain, Britten's Sereande for Tenor, Horn and Strings presents fearsome challenges for performers. Mark Padmore and Katy Woolley met those challenges superbly.

Swedish soprano Miah Persson dominates the Orchestre symphonique de Montréal’s enterprising Romantic Lieder program conducted by Kent Nagano.

Thank goodness for the BBCSO! The London concert season would be far less colourful without it...

En ouverture de leur saison et préfigurant la célébration des 250 ans de Mozart, le Classical Opera, offrait au Barbican un concert de l’inachevé. Un programme monumental et une interprétation fidèle, pour un rendu presque trop soigné.

Le Collegium Vocale Gent et l’Orchestre des Champs-Élysées sous la direction de Philippe Herreweghe dans un programme Bruckner/Schubert : une musique pleine de gravité, proposée avec intensité par un très grand chef.

Fischer and his Budapest Festival Orchestra gave a breath-taking performance, with  concentration and class.

In one of the most fascinating resorts on the Neapolitan southern coast, the amazing London Symphony Orchestra performed Maher's First Symphony with its principal guest conductor.

Une telle affiche dans un tel programme : le concert promettait beaucoup, et donna beaucoup. Bychkov et le COE livrèrent deux admirables interprétations de l'Inachevée de la Septième de Beethoven, dessinant le discours musical d'un pinceau sobre et élégant.

Daniel Harding and the London Symphony Orchestra again paired Schubert with a late Romantic, this time Richard Wagner, and the second act of Tristan und Isolde. The orchestra were on a form it would be hard to match.

Christoph von Dohnányi was awarded an honorary doctorate at the Royal Academy of Music, London, and to celebrate he led some of the Academy's students in a performance of Schubert's "Unfinished" Symphony.

We can never really know why Schubert left his Eighth Symphony unfinished, but that shouldn't stop us from playing such a wonderful piece of music. With its deathly still opening, turbulent central section and gentle slow movement, this symphony is one of Schubert's finest and most frequently performed works.

After an impressive Sunday afternoon of Webern, Schubert, and Brahms, the Bamberg Symphony outdid themselves Monday evening in repertoire by Beethoven and Ives, and another Schubert symphony. Christian Zacharias again joined Maestro Jonathan Nott, this time for Beethoven’s Piano Concerto no. 4.

The poetry of Arthur Rimbaud was, to borrow a phrase from the 1960s, "way out there." His 1870s collection Les Illuminations inspired Benjamin Britten, who set a selection of the poems to music: the words are surreal, bizarre, sometimes erotic, always onomatopoeic and packed with interesting sounds.