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A strong cast led by an energetic Pablo Heras-Casado struggles in the revival of Jürgen Flimm's ill-conceived 2012 production.

Jay Scheib spices up the visual experience with digital content in his production of Parsifal. Sounds good. But is it?

The conductor directs the Accademia Nazionale di Santa Cecilia and Theatres of Voices in contrasting symphonies by Berio and Stravinsky.

The fourth edition of the festival marks the 800th anniversary of the founding of Klosters with a musical journey back in time. 

An energized cast delivers in a visually eye-popping production as Monteverdi's opera appears at the Haus am Ring for the very first time. 

Robert Louis Stevenson was clear in the advice he gave: “It is better to travel hopefully than to arrive.” Pablo Heras-Casado, Bertrand Chamayou and the house orchestra of the Elbphilharmonie embark on musical journeys, but with mixed results.

Pablo Heras-Casado conducts the Netherlands Radio Philharmonic Orchestra in a programme that sends the audience on its imaginary travels.

Pablo Heras-Casado a programme featuring a classic combination of Mozart and Schumann. 

Kate Lindsey’s voice is luminous, effortlessly regulated in every register, and intertwined magically with the gleaming soprano of Slávka Zámečníková, a very special new jewel in the Staatsoper ensemble who is every inch a star.

With Emmanuel Macron announcing a return to theatres and concert halls in May, the Orchestre de Paris plays for an exclusive – but silent – audience by the Seine.

Carsen's scaled-down Ring makes a timely comeback with a melancholy message of decay.

This year’s NTR ZaterdagMatinee concert series in Amsterdam kicked off with a Boris Godunov that left nothing to be desired.

A long four-movement concerto and a long symphonic work by two close musical friends, given by Pablo Heras-Casado, Francesco Piemontesi and the NDR Elbphilharmonie Orchester.

A programme in which a great orchestra finds several 'leaders', as well as a fine first violin.

In an all-Mendelssohn programme, Pablo Heras-Casado led the orchestra in detailed and original interpretations, with a strong performance from soloist Isabelle Faust.

Love may well be a rebellious bird, but that's as nothing to maverick director Dmitri Tcherniakov, whose twisted staging for Festival d'Aix reimagines Bizet's opera as a radical therapy session.

An outstanding concert, with impressive performers that love to play together and had lots of time to rehearse

From dawn to nightfall in picture-postcard Spain followed by a detour to Kastchei’s magic garden, the Philharmonia didn’t stint on local colour.

Having received excellent reviews for his Mahler, Verdi, Wagner and Shostakovich, Pablo Heras-Casado decided to programme a composer he has loved since his youth: Claudio Monteverdi. 

Highly effectively performances from Pablo Heras-Casado and LSO in Ravel, Schumann and Dvořák. 

Pablo Heras-Casado conducts the New York Philharmonic in a performance that provides many a musical lesson, but not much fuel to the imagination.

Alisa Weilerstein teams up with Pablo Heras-Casado and the SFS to deliver superb Schumann at the Davies Symphony Hall. 

Affable host Richard Gere united a starry musical cast to celebrate Carnegie Hall’s 125th Anniversary Gala.

An overall commendable performance dampened only by a ho-hum Beethoven. 

Alisa Weilerstein's intense, intimate, personal rendering of the Elgar Cello Concerto is the highlight of an otherwise lacklustre concert from Pablo Heras-Casado and the LSO.

The Orchestra of St. Luke's under Heras-Casado performed an intriguing program of early works by Stravinsky, Tchaikovsky, with a stirring account of Mendelssohn's Violin Concerto as a special treat in between.

Does it really matter where an opera is set? These days, this question seems to trail Rigoletto. 

Fire and ice. When the cool, steely tone of Joshua Bell ‘Huberman’ Stradivarius met the feverish impetuosity of Pablo Heras-Casado at the helm of the London Symphony Orchestra for the final leg of its International Violin Festival, it wasn’t always a case of opposites attracting.

The Teatro Real crowns his Britten cycle with a canonic War Requiem conducted by Pablo Heras-Casado and superbly sung by John Mark Aisnley and Jacques Imbrailo. 

Mauricio Sotelo's world première based on El Público, a fascinating surrealist play by Federico García Lorca, mixed flamenco and tragedy to achieve a great night of opera. 

The Met's revival of Carmen, with its rotating set, has a successful opening night with a strong cast, an insightful conductor, a superb orchestra and chorus, all working well as a team.

Sasha Waltz’s new production of Monteverdi’s Orfeo saw a fusion of sound and movement at the Muziektheater Amsterdam, with dancers and singers twining together almost indistinguishably.

The four pieces – all U.S. premières – created a portrait of Boulez minus Boulez, reminding me of a middle school art exercise in which we were asked to draw an egg without any white crayons.

Sunshine bursts forth as Pablo Heras-Casado conducts the Philharmonia Orchestra, featuring pianist Nikolai Lugansky, in a Sunday matinée concert of Beethoven and Mendelssohn at the Southbank Centre.

I thought it ironic to hear people saying that the Met’s recent production of Two Boys was already outdated because of its ten-year-old subject: Internet chatrooms.

When a conductor decides to lead a performance without a score, it really means two things. One is obvious: a deep and intimate familiarity with the music. Less obvious, though, is the implication of trust in the musicians of the ensemble. On Friday, young Spanish conductor Pablo Heras-Casado delivered a spectacular interpretation of Mendelssohn’s Symphony no.

The Los Angeles Philharmonic’s January 20 concert, the last in its “Focus on Eötvös” mini-residency, may as well have been called “Focus on Hungary.” The small, landlocked country, with barely over 9 million residents, has exerted – and continues to exert – a powerful influence on music.

The Mahler Chamber Orchestra presented a Russian program with a twist; “A Russian Flirt with Haydn”. All four works and three composers that graced the stage were influenced by Haydn, most obviously Schnittke and his Moz-Art à la Haydn. The music worked well together, though I would suspect that this is more due to the Russian background than Haydn’s influence.

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.

The performance of four symphonies in one evening is a rare occurrence, and an interesting feat of programming. The BBC Philharmonic explored the development of the symphonic form from the succint, formal classicism of Haydn and Mozart to the broad romanticism of Brahms, via Prokofiev’s witty take on the classical form.

The New York based Mostly Mozart Festival is easily overshadowed by Tanglewood Summer Season at the same time in Massachusetts, but it would be careless to underestimate its quality. The programme on August 5th, 2011 banished any doubt about its ability to live up to world standards.Conductor for the evening was Spaniard Pablo Heras-Casado.

Auch im dritten Jahr der Bayreuther Parsifal-Produktion kreist die Diskussion um die zum Einsatz kommende «Augmented Reality». Sie verstellt aber den Blick auf die musikalischen Qualitäten der aktuellen Aufführungen.

Très attendue depuis son annulation pour cause de Covid-19, la Tétralogie selon Calixto Bieito déçoit grandement pour son premier épisode, et ni la fosse ni la distribution vocale ne compensent cet échec.

Wie unterschiedlich natürlich auch die Ergebnisse historisch-informierter Herangehensweise und deren Minimalkonsens sind, offenbarten Orchester und Dirigent bei der Eröffnung des FEL!X-Festivals der Kölner Philharmonie.

La production est de retour à Bayreuth, avec les avantages et les inconvénients de son dispositif de réalité augmentée, et surtout une interprétation musicale de très haut vol.

La reprise de la mise en scène chorégraphiée d'Anne Teresa De Keersmaeker, créée en 2017, échoue à convaincre – au contraire de la direction musicale captivante de Pablo Heras-Casado.

Pablo Heras-Casado dirige, al frente de la Orquesta Sinfónica de Madrid, una Cuarta de Bruckner que no termina de convencer.

Stravinsky revisite Gesualdo, Sciarrino reprend Stradella et rend hommage à Barbara Hannigan, Pablo Heras-Casado dirige l'Orchestre philharmonique de Radio France et alterne interprétation remarquable et effets superflus.

Jan Lauwers inszeniert Ligetis Le Grand Macabre als durch-choreographierte Komödie mit hohem Unterhaltungswert.