Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Doppelkonzert in a-Moll für Violine, Cello und Orchester, Op.102

In Klarheit und Ordnung ebnete Herreweghe mit dem Orchestre des Champs-Élysées die Wege, auf denen es Vieles zu entdecken gab. Solistisch faszinierte einmal mehr Isabelle Faust.

Mit einem Brahms-Programm bringen die Wiener Philharmoniker Sonnenschein in das Berliner Konzerthaus.

Das Schweizer Spitzenorchester gastiert mit Widmann, Brahms und Dvorak im Wiener Konzerthaus.

Orchester in Bestform, Solisten in intimem Zusammenspiel - man darf sich auf eine aufregende Konzertsaison freuen.

The expanded forces of the ACO take on two major nineteenth-century symphonic works by Dvorak and Brahms, prefaced by world and Australian premieres of pieces by Andrew Ford and Andrew Norman

Andris Nelsons conducts his "other" orchestra in Boston in a classic program of Brahms and Schubert. 

Kirill Petrenko paid attention to details that many times get lost.

Rihm is probably Germany’s most famous living composer, and he has a reputation for cerebral intellectualism in his music. That’s admirable, but it doesn’t make him approachable. 

El reconocido solista, junto a su igualmente virtuosa pareja brillaron a la par que la orquesta chilena en una colaboración equilibrada, y una oferta musical contundente.

A concert programme that includes both Holst and Vaughan Williams is as right as strawberries and cream at Wimbledon. 

Stutzmann displays her customary thoughtfulness and musicianship in Beethoven and Brahms, while violinist Zorman and cellist Elschenbroich deliver a remarkably satisfying Double Concerto. 

Les musiciens surent, de façon presque métonymique, mettre en musique la gestuelle appliquée de Leonard Slatkin

There may be little profound to say in Dvořák’s Sixth Symphony, but that didn’t stop Nézet-Séguin and the LPO telling it most beguilingly. 

 This 19th century romantic programme promised much, with familiar and rare works by Beethoven, Brahms, Dvořák and Schumann. Could the great orchestra and soloists meet our high expectations?

The San Diego Symphony presented a glittering holiday gift to audiences with its final Jacobs Masterworks program of 2015

When leaders of their sections perform a concerto with their Royal Concertgebouw Orchestra, it generally leads to an evening of excellence.

The BBC National Orchestra of Wales crossed the river to England to deliver an evening of the music of Brahms culminating in the giant Symphony no. 1 in C minor, Op. 68.

Brahms and Bruckner: Two diametrically opposed pieces of large-scale music from 1887, hailing from two opposing ends of the Romantic spectrum, make up this Borusan Istanbul Philharmonic Orchestra programme. 

Julia Fischer and Daniel Müller-Schott demonstrate faultless command of Brahms' consumately crafted Double Concerto, which makes a telling contrast with Bruckner's wayward early Symphony no.2 in C minor in Jurowski's committed LPO performance.

Silences felt like the pillars in Lorin Maazel's reading of Sibelius' Symphony No.2 and the results were astonishing.

If every workplace could undergo a team-building exercise like Lutosławski’s Concerto for Orchestra, the world would be a happier place. The Royal Scottish National Orchestra’s performance under Yan Pascal Tortelier was unbelievably energetic.

The second concert of the Philharmonia’s Brahms cycle saw Brahms’ orchestra at its richest and most full-blooded. Alongside the burnished, glowing colours of the Haydn Variations were placed the autumnal glow of the Third Symphony and the Concerto for Violin and Cello, Brahms’ final orchestral work, with sibling soloists Christian and Tanja Tetzlaff.

Nearing the end of Lincoln Center’s annual Mostly Mozart Festival – a name that rather allows for just about any programming whim – Friday night was a return to a composer who might more plausibly appear within the programs of a Mostly Beethoven or Mostly Bach festival, but whose presence here was due, one guesses, to his devotion to the concerto genre and to a certain formal elegance in his symph

One wonders what each of the composers might have thought about being programmed in the same concert. Brahms had some unpleasant things to say about Bruckner, famously that his symphonies were a swindle; and Bruckner remarked that Brahms is Brahms, but he, Bruckner, preferred his own stuff.

Who has the power, the authority to fix the moment when a major public event can start? In broadcast events, such as the Proms, where all of the concerts are broadcast on Radio 3 and many are televised, the bigger, virtual audience puts the media in the driving seat. The radio or TV producer holds sway - up to the moment when the conductor steps out into the hall.