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

El concierto de la Orchestre de la Suisse Romande se convirtió en un evento especial al concederle a Martha Argarich la Medalla de Honor del Festival.

The orchestra doesn't miss a beat in opening the season with a substitute conductor Charles Dutoit and a dashing new artist-in-residence in Daniil Trifonov. 

Martha Argerich returns to the Enescu Festival for one of the pillars of her repertory, Prokofiev's Third Piano Concerto, in a buoyant performance. 

L'Orchestre Philharmonique de Monte-Carlo a invité la pianiste et le chef d'orchestre Charles Dutoit pour un concert Ravel-Tchaïkovski de haut vol.

An ideal homage to the "Swiss Stravinsky" on the 50th anniversary of his death.

Argerich is predictably a force of nature in Tchaikovsky and Dutoit shows his mettle in Ravel and Stravinsky.

Dutoit, Lugansky and the HK Phil perform at their finest in famous French and Russian repertoire.

Guest conductor Charles Dutoit returned to Los Angeles for a program devoted to one of the composers he is most closely associated with. 

John Relyea owns the stage as Méphistophélès in Boston Symphony’s Faust. 

Francesco Piemontesis Interpretation war betont impulsiv, vorwiegend legato, vorwärtsgerichtet und flüssig, mit Sicherheit und ausgezeichneter Technik, seine Linke gestaltete speziell im Staccato sehr differenziert.

Few other pianists have Argerich’s naturalness, her ability to epitomize the essence of music rather than interpret it. 

Dutoit a embarqué le Royal Philarmonic de Londres dans un délice de musiques ravéliennes portées aux nues. On se souviendra longtemps de cette belle soirée à Montreux qui, envoûtée par des musiques si solaires, se transforma, le temps d’un concert, en sublime rivage méditerranéen. 

Just what the doctor ordered: a programme of Franco-Iberian musical delights to advance the cause of a Mediterranean lifestyle, with Charles Dutoit and the RPO in commanding form.

Like most honest listeners I crave a taste of turpitude in Salome.

Charles Dutoit and the SFS brings us a night of Sibelius, Mozart, de Falla and Debussy, giving us a wonderful taste of Europe in one sitting. 

A religious-themed program made for a particularly moving Easter weekend concert from Dutoit and the CSO, highlighted by the serenity of Fauré’s Requiem.

Dutoit’s CSO program was highlighted by the US première of an intriguing discovery –Stravinsky’s long-lost Chant funèbre – complemented by Prokofiev and Dvořák with Truls Mørk.

Charles Dutoit à la tête de l’Orchestre de la Suisse Romande et de la Zürcher Sing-Akademie aura illuminé les noirceurs du « War Requiem » de Britten d’un art abouti des transitions et des ambiances. Portés par sa baguette, les artistes sur la scène du Victoria Hall auront permis un voyage serein dans des terres qui pourtant regorgent de chausse-trappes. 

With combined ages of over 150 years between conductor and soloist, there was no lack of experience on the platform for this Royal Philharmonic Orchestra concert.

While premiered only some 60 years apart, the Béla Bartók and Pyotr Ilyich Tchaikovsky works that Charles Dutoit recently conducted in the Zurich Tonhalle couldn’t have called up more disparate moods.

The Doors of Perception swung wide at Symphony Hall as Charles Dutoit led the Boston Symphony in an unusual and engrossing pairing of Mozart’s boisterous, Haydenesque Symphony no. 39 in E flat, K543, and Bartók’s one-act opera, Duke Bluebeard’s Castle,

Charles Dutoit, who recently turned 80, brought energy and engagement to a vigorous and stimulating program of works by British composers.

Charles Dutoit, still sporting his trademark slick of black hair and a 79-year-old whirlwind of francophone charisma, clearly brings this band's playing to a new level, especially when the repertoire happens to be French and Russian music of the 20th century.

The Royal Philharmonic Orchestra, its Music Director Charles Dutoit, Principal Guest Conductor Pinchas Zukerman and Martha Argerich party in style with Rossini, Schumann, Bruch and Stravinsky.

Outre un Royal Philarmonic Orchestra London pléthorique, on aura retenu les délices pianistiques d’un Daniil Trifonov superlatif, et surtout un Chrales Dutoit qui nous livre Un Sacre du Printemps magistral d’énergie primale et de musicalité : des concerts qui vous revigorent pour longtemps !

Charles Dutoit and the Royal Philharmonic Orchestra are the stars in a demanding programme of Dvořák and Bartók.

Lang Lang's Prokofiev was ostentatious, but it was Duoit's visionary take on The Firebird that was truly the standout.

Charles Dutoit's mostly Spanish program was highlighted by two major scores of Manuel de Falla.

A globetrotting programme from Dutoit and the RPO that whisked us from Rome's fountains to St Petersburg's Shrovetide Fair via Bohemia's woods and fields. 

Charles Dutoit stands as arguably today’s premier Berlioz conductor. If his case needed any special pleading, it was pled well in Symphony Hall when he bracketed the Resurrexit and Te Deum with Henri Dutillieux’s Timbre, espace, mouvement ou La Nuit étoilée.

Dutoit leads the New York Phil, pianist Yuja Wang in a colorful program of Respighi's Roman Trilogy and Mozart's Piano Concerto No. 9.

Une bien belle soirée ravélienne, qui aura mis en valeur un Orchestre de la Suisse Romande décidémment en grande forme sous la direction raffinée de Charles Dutoit, expert de la musique française.

Charles Dutoit et le Royal Philharmonic Orchestra de Londres entourent Khatia Buniatishvili de toute leur attention.

Charles Dutoit displays his expertise in Berlioz and Respighi in a fine evening with the Sydney Symphony. 

An eclectic mix of Debussy, Mozart with the doyenne of the Russian school Elisabeth Leonskaja and the riddle that remains Shostakovich's final symphonic statement.

Paul Groves, Sir Willard White and Ruxandra Donose are the top-flight principals, with excellent support from the Cleveland Orchestra Chorus.

Bartók's Duke Bluebeard’s Castle makes for an enthralling evening, both in its depth of psychology, its amazing score and in the RPO’s colour filled performance, with stand-ins Sir Willard White and Ildikó Komlósi in fine voice.

Charles Dutoit and the Royal Philharmonic Orchestra journey on a Roman holiday, taking in the pines, fountains and festivals of the Eternal City. 

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

The Royal Philharmonic Orchestra's current season is dedicated to performances of works for which its conductor, Charles Dutoit, has received critical acclaim in interpreting. This all-French programme of three very different works by Ravel, Berlioz and Saint-Saens continued the season in style.

Charles Dutoit conducts the RPO in strikingly colourful performances of Ravel's Daphnis et Chloé and Poulenc's Gloria. 

Concert programmes at the Proms often lean toward music of significant scale and heft. The requirement to fill the huge Royal Albert Hall, as well as capturing listeners’ attentions across the airwaves and in many different countries, means that huge expeditions, such as this year’s Ring cycle, are a perfect fit for the festival. Prom 44 was massive too, in its own way.

For the second of his two concerts conducting the Sydney Symphony Orchestra, Charles Dutoit presented a program consisting of highly contrasting works by Stravinsky and Mendelssohn, including Stravinsky’s The Rite of Spring, celebrating the 100th anniversary of work’s first performance in 1913.

The title of the latest Sydney Symphony Orchestra concert was simply “Organ Symphony”, referring to the work which was to form the second half of the evening’s concert – Saint-Saëns’ “Organ Symphony” in C minor.

The program was dubbed “Romance at the Phil”, but the music presented was hardly the sort to set lovers’ hearts aflame. It could even said to be a touch staid. There was Mendelssohn and Mozart in the first half. Richard Strauss is closer to the mark – this is the composer of Salome, after all – but it was his jovial Don Quixote that closed out the night.

If this year's Delius anniversary glut – he was born in 1862 – has taught us anything, it is how difficult his music is to capture: beautifully idiosyncratic at best, but plain boring if wrong.

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.

Following the Philadelphia Orchestra’s stellar performance at last night’s Prom, Chief Conductor Charles Dutoit presented a second violinist with a bouquet of flowers. This unusual gesture, he explained, was a fond farewell to a man who has played in the orchestra for 50 years. During the past half-century, that violinist must have played last night’s pieces many times.

When recession strikes, Stravinsky’s your man! Nothing is wasted and everything is convertible. The fact that his world and style had changed beyond recognition between beginning his opera, Le Chant du Rossignol in 1908 and finishing it in 1914 – three epoch-changing ballets later – did not seem to faze him.

Last night’s concert with the RPO under the baton of Artistic Director Charles Dutoit began with Mussorgsky’s orchestral showpiece, Night on a Bare Mountain. The piece describes the dreadful antics of three witches as they await the Devil’s appearance on a spooky mountain top.