En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Chabrier

Giancarlo Guerrero debutó con la Sinfónica de Galicia, acompañados por el pianista Kirill Gernstein presentaron un programa sencillo pero que redundó en una efusiva y arrolladora velada musical.

El tenor más esperado ofreció un Wagner soberbio mientras confirmaba las dudas sobre su versatilidad para otros repertorios.

Les deux pianistes font preuve d'une synchronisation sans faille et d'une belle complicité dans un récital riche en évocations.

Young French performers impress in their Hallé debuts in an elegant Saint-Saëns cello concerto and Rachmaninov's stirring Symphonic Dances. 

A mainly French programme of Chabrier, Saint-Saëns and Franck drew mixed performances, but it was a memorable performance of the latter's Symphony in D minor that crowned the evening at Poole's Lighthouse. 

Le pianiste allemand interprète un programme français passionnant mais les grincements incessants des fauteuils dans le public ont altéré sa concentration et empêché l'expérience d'atteindre les sommets auxquels elle était promise.

Die Münchner Philharmoniker und das BRSO schließen ihre Corona-Saison mit Klassik am Odeonsplatz ab. In kleinerem Rahmen als sonst, dafür jedoch mit einem Feuerwerk an Klangfarben.

Waltzing on a Monday evening? Wigmore Hall is not exactly the Tower Ballroom, but last night it did a fair impression as a temple of dance when Philippe Cassard played the third of his Debussy Perspectives series.

Stephen Unwin's straight direction and some talented young singers from the Royal Academy of Music Opera school made these two works a real treat. 

In a program with Chabrier’s España and Falla’s The Three-Cornered Hat, the Houston Symphony ambitiously unearthed Mario Castelnuovo-Tedesco’s Cello Concerto, last heard at its premiere with the New York Philharmonic in 1935.

Das BRSO widmet sich unter der Leitung von Sir John Eliot Gardiner mit ihrem Programm dem Werk von Emmanuel Chabrier abseits seiner Orchesterrhapsodie España.

Nezet-Seguin and his Philadelphians convey the brilliance and sophistication of France's undisputed "golden age" of classical music with works by six Parisian composers.

The Hallé brings its Nottingham concert season to an end with a programme of popular French and Russian works.  

One of America's high quality regional orchestras premieres a new Amercan piano concerto by Kenneth Fuchs, along with presenting a trio of French orchestral gems.

Poor intelligibility and lack of pace in the music or acting make L'Étoile into a disappointingly flat evening.

Core repertoire from across nearly two centuries formed the basis of a recital programme that forged a link from Bach to Ravel.

A joyful concert by the Manchester Camerata conducted by Gábor Takács-Nagy with Craig Ogden in music by Rossini, Chabrier, Rodrigo and Beethoven, with a few surprises along the way.

A successful night of flavorful pieces, including a harp concerto by Argentinian composer Alberto Ginastera. 

Stunning Boléro as Washington National Symphony continues its theme of Spanish escapism in this month’s Iberian Festival. 

In Amsterdam, Mariss Jansons conducts the Concertgebouw orchestra in a selection of six stunning rhapsodies for large orchestra.

L’étoile at the Dutch National Opera, directed by Laurent Pelly and conducted by Patrick Fournillier, is bubbly and light like a glass of sparkling wine, to be consumed without restraint. 

Stephen Hough lays bare the myth that Saint-Saëns was a conservative in an electrifying performance of the “Egyptian” piano concerto with the RPO.

It is a cliché in music commentary to say that youth orchestras bring vitality, fearlessness and chutzpah to the programmes that they play. But as with most clichés, it does appear to be based in truth, and that is perhaps one reason why the BBC Proms continue to give such support to young players as well as young composers.

I went to this concert primarily so as to be able to hear Frederick Stocken’s new work, Archangels. The performance of that work was preceded by the Choir of St Mary’s Woodford singing sixteenth century church music, conducted by Mr Stocken.

How tempting it can be for the aficionado of German Lieder to stay at home and never to go to concerts. He (yes, it is normally a he rather than a she) can retreat into his LP and CD collection, and convince himself that the great recordings of a Dietrich Fischer-Dieskau or an Elisabeth Schwarzkopf cannot be surpassed.