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

La ingeniosa interpretación de Ray Chen y la precisión del Coro Estatal de Letonia nos demuestran por qué merece la pena escuchar una vez más las obras más famosas del canon de la música clásica.

Bajo la dirección de Jaime Martín, la BOS respaldó el inigualable sonido del Stradivarius que Ray Chen hizo vibrar con el magnífico concierto de Sibelius; la descriptiva Tres pinturas velazqueñas de Jesús Torres y la última y compleja sinfonía de Shostakovich completaban un programa estimulante.

At the Seoul Arts Center, the Berlin Radio Symphony Orchestra achieves a luminous balance of historically informed insight and modern orchestral splendour, delivering performances that feel at once deeply rooted and thrillingly alive.

An Usher Hall fire alarm interrupts Thomas Søndergård and the Royal Scottish National Orchestra's rendition of Dvořák’s Sixth Symphony.

Unter der souveränen Leitung von Tung-Chieh Chuang spielte das Orchester symphonische Werke, die zwar als zeitgenössische Erfolge etabliert sind, aber zu selten in westlichen Konzerthallen zu hören sind. 

The Royal Liverpool Philharmonic Orchestra present a programme of Rossini, Paganini and Dvořák with Michele Mariotti conducting, but it’s Ray Chen who steals the show.

Elim Chan lead the Los Angeles Philharmonic through a high-powered program of Chinese and French music that began and ended with virtuoso showpieces written less than 30 years apart.

Chen plays a fine solo part in Bruch and delights with his encore; Orozco-Estrada and the LPO provide some good moments but fall short of their best form.

In an all Tchaikovsky programme, Ray Chen delivers a cracking account of the Violin Concerto while Stutzmann brings out all the drama of his Fifth Symphony.

BOZAR, Bruxelles. Ray Chen excelle dans le Concerto de Tchaikovsky. La Première symphonie de Brahms en revanche se décevante.

The London Philharmonic Orchestra, Vladimir Jurowski and the soloist Ray Chen offer the next instalment in a series showcasing the works of Stravinsky and their historical influences.

Ludovic Morlot makes a grand return to the Atlanta Symphony Orchestra in a program of 20th-century works, highlighted by a masterful performance of Prokofiev's Second Violin Concerto, with soloist Ray Chen. 

The Bamberg sound remains particularly noticeable in the unanimity and broad, rich beauty of the strings and the sublimely eloquent woodwinds, and the musical authority that lies in the roots of its history. 

Joining Maestro Christoph Eschenbach and the musicians of the Bamberg Symphony Orchestra for a tour across the United States, Chen headlined a pops concert of Austro-German music, complete with a riveting interpretation of the Mendelssohn Violin Concerto and an sufficient performance of Mahler’s Fifth.

Ray Chen s’est attaqué avec le London Philharmonic Orchestra au Concerto pour violon de Brahms. Manfred Honeck, Autrichien de naissance, a mis le soliste et l’orchestre sur les rails, ou du moins a essayé de le faire.

A varied concert of new music by Anthony Payne, Max Bruch's 1st Violin Concerto with Ray Chen, a Tchaikovsky rarity and a rousing early work by Vaughan Williams

With Penderecki conducting his own work, this concert demonstrated the possibilities of orchestral colour filtered through a post-Romantic lens, but was confronted with issues of balance and refinement.

Framed by passionate performances of Mendelssohn and Brahms, a gorgeous neo-Romantic work by Steven Stucky is unveiled in this installment of the 2015 Summer Festival. 

Ray Chen and Julien Quentin perform a scintilating Prokofiev and a delightful Stravinsky in this largely Russian programme. 

Ray Chen and Julio Elizalde place Sarasate dessert before the main course of Beethoven's 'Kreutzer' Sonata in Cleveland recital.

Perelman Stage at Carnegie Hall is by no means a modest-sized concert stage, and the Royal Stockholm Philharmonic Orchestra seemed to take up every square inch of it. The sheer size of the orchestra is initially what struck me, until the opening lines of Rolf Martinsson’s Open Mind, Op. 71.

Celebrating the worldwide release of his first orchestral album, Tchaikovsky and Mendelssohn: Violin Concertos, Ray Chen presented a fairly typical selection of classical music: Bach, Brahms, Tchaikovsky and Saint-Saëns. But from the moment Chen took to the stage at (Le) Poisson Rouge, it was clear the evening’s concert was bound to break a few rules.