Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Glinka

Gergiev y la Orquesta del Teatro Mariinsky reviven de manera excelsa el vínculo entre la gran tradición musical rusa y el folclore español durante su primera intervención en el Festival de Granada. 

Jurowski y la London Philharmonic llevaron a cabo una exégesis justa, prevenida contra toda grandilocuencia y que supo generar la atmósfera adecuada.

Como el aprendiz de brujo, bajo su batuta mágica Antoni Wit logró que la Orquesta Sinfónica de Navarra y el pianista Peter Jablonski transformaran las composiciones de los grandes compositores rusos del siglo XIX y XX en olas bulliciosas y torbellinos de vientos que cautivaron el auditorio del Baluarte.

A most idiosyncratic version of Rachmaninov's Second Piano Concerto from Khatia Buniatishvili along with a notable performance of Sibelius' Second Symphony from the RPO, touring the United States under Mark Wigglesworth. 

Union Jack isn't a Balanchine masterpiece – it's more of a fun-sterpiece, which is even better.

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.

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.

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.

A dynamic Italian pairing provides warmth in Tchaikovsky's Violin Concerto, part of a trio of Russian works. 

The last weekend concerts before the holidays at the Tonhalle Maag featured soloist Janine Jansen, the virtuoso Dutch violinist who is Artist-in-Residence here this year.

Alondra de la Parra breathes new life into Russian classics

Miloš Karadaglić provides atmosphere and virtuosity in Joby Talbot’s newest work, while Alexander Vedernikov and the BBC Symphony Orchestra give Russian flourishes in Glinka and Tchaikovsky.

It was worth the price of admission just to see the ebullient revival of Geoffrey Holder’s Dougla.

Chinese-American pianist George Li is now all of 22 years old, and continues to accumulate awards for his remarkable playing, but could he find anything interesting to say about this particular warhorse? 

Following some rhythmically challenged Ginastera, Horia Andreescu and the Russian National Orchestra impress with confidently played MacMillan and Tchaikovsky.

Rimski-Korsakov, Rachmaninov, Glinka, Tchaïkovski… Les jeunes artistes en résidence à l'Académie de l'Opéra ont offert à Paris des effluves printaniers venus de Russie, servant un répertoire de miniatures poétiques qui sont autant de gemmes.

Semyon Bychkov and Yefim Bronfman try to bring new relevance to Tchaikovsky's music.

Meticulous intonation, seamless phrasing and oozing charm, Chanticleer delivered a wonderful entertaining concert in a programme that stretched nearly 600 years. 

Conductor Han-Na Chang and the Oslo Philharmonic impressed with a fiercely fast overture to Ruslan and Lyudmila and an exciting new piece by Norwegian composer Jan Erik Mikalsen.

Vladimir Jurowski and the LPO cut an unusual slice of Russian music, with energetic performances of five works from four composers and Steven Isserlis outstanding in Prokofiev's Cello Concerto.

Damian Woetzel puts together programs, musicians and dancers with a creative curator’s eye and gets the most out of the new combinations. This show was great.

Three Russian warhorses given performances of remarkably varying quality by the Royal Philharmonic Orchestra.  

Isabella Boylston, Cassandra Trenary and Herman Cornejo are exemplary in Mark Morris's new After You, a ballet of simple grace.

“Let me play the lion too.” I hadn’t associated Daniel Barenboim with Nick Bottom from A Midsummer Night’s Dream before, but during Beethoven’s Triple Concerto, I half expected him to leap from his piano stool and play the violin and cello parts too. 

Baritone Jaakko Koretkangas and pianist Nino Gvetadze prove the stars of an evening of great variety ending with a thrilling scene from an obscure Hindemith opera.

A fine account of the Szymanowski Violin Concerto no. 1 from Nicola Benedetti lights up a concert in which the LSO are on top form and young conductor Krysztof Urbanski impresses.

Alexander Boldachev gives a highly entertaining exploration of Russian music, by way of a battery of harp effects, several of his own devising.

The European continent met the British Isles in this weekend’s San Diego Symphony program. 

We’ve already reached the penultimate week at the BBC Proms and Air Miles are clocking up apace with orchestras visiting from far afield. This evening saw the Singapore Symphony make its Proms debut, bringing in its hand-luggage a European première of a work by Chinese composer Zhou Long.

The Detroit Symphony triumphantly returned to its summer home tonight after many years away, ending the 2013-14 season with a flourish.

Paavo Järvi and the Philharmonia Orchestra in exciting Russian masterworks

Like much of Shostakovich’s work, his popular Piano Quintet, Op. 57 (1940) is full of ambiguity and contradiction. It was written at the request of his friends in the Beethoven Quartet, who had so enjoyed his first string quartet that they asked him to write something new that they could play with him – but this private piece of chamber music was a huge public success.

Spaniard Pablo Gonzalez made his second appearance with the Royal Liverpool Philharmonic in an all-Russian programme of mixed success, pairing a slightly routine Rachmaninov Second Piano Concerto with a thrilling account of Rimsky-Korsakov’s Scheherazade.Gonzalez and soloist H.J.

If the presence of BBC Radio 3 and a huge audience occasioned any nervousness on the evening of Peter Oundjian’s first Edinburgh appearance as RSNO Music Director, it was well hidden. Weaving with boyish enthusiasm through the orchestra, a sporting spring in his step, he acknowledged the warm welcome before the orchestra dived into Glinka’s 1842 overture to Ruslan and Ludmilla.

As crowd-pulling operatic divas go, most of the attention goes to the sopranos. But a select number of mezzos have the same kind of following, and Latvia's Elina Garanča is high on that list. There are just a few roles where the mezzo is the main character of the opera (many of the others are "witches and bitches", as Garanča puts it), and the big one of those is Carmen.

When Simon Rattle left the CBSO in 1998 predictions of the orchestra's imminent demise came flooding in from the press. Sakari Oramo, who filled Rattle's shoes, achieved what everyone thought was impossible, further honing the CBSO's sound, using his knowledge and expertise as a violinist to give the strings more polish and precision than they'd previously had.

Here’s a pertinent fact for a classical music website: in 1991, when the wonderful World Wide Web was poised to ensnare anyone with computer access, Birmingham’s Symphony Hall opened its doors to the concert-going public for the first time. It quickly won critical acclaim with artists from across the globe and it’s known as one of the best anywhere.

The Philadelphia Orchestra was at Carnegie Hall this weekend, led by Chief Conductor Charles Dutoit and joined by pianist Maria João Pires, to perform works by Glinka, Chopin, and Ravel. After this season, American audiences will presumably be seeing less of Mr.

The programme notes suggested that Glinka was the father of Russian nationalism. Perhaps this is the case, but his overture to his second opera, Ruslan and Ludmilla, is undeniably an Italianate work, surely influenced by his meetings with Donizetti and Bellini in 1830.