Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | National Symphony Orchestra

Kevin Puts’ expanded work on Georgia O’Keeffe and Alfred Steiglitz provides another triumph for Renée Fleming and the NSO, while two Strauss works demonstrate both its artistic re-emergence and work left to do.

A major work going well beyond tango by Astor Piazzolla and a fresh introduction to African-American composer Florence Price highlight a concert that tries a bit too hard to please

Krzysztof Urbański elects an ideal pace and shape for Tchaikovsky's Fourth Symphony in a guest conducting appearance with the National Symphony Orchestra, on an evening also featuring Lise de la Salle playing Chopin.

A good audience turnout for the opening of Noseda's third NSO season justifies an all-20th-century program centering on Carl Orff's popular and direct setting of medieval poems about real life and fate, but also presenting gentler works of religious reflection.

An evening of Schubert in Washington DC, ending with Luciano Berio's "restoration" job, Rendering. 

Torrential downpours and the croaking of consumptive frogs fail to dampen spirits at Wolf Trap's National Symphony Orchestra concert featuring pianist Seong-Jin Cho, JoAnn Falletta and a massive community chorus.

Mason Bates' homage to the Silicon Valley geeks; Alice Sara Ott takes over Tchaikovsky.

Paul Jacobs bring Rouse's Organ Concerto to DC.

Mason Bates' Symphony Liquid Interface takes over the stage in Washington DC. 

Another evocative salute to Slava in Washington DC/

Captiavting European musical narratives in Washington DC.

A first performance of Weinberg for the NSO and a thoroughly fearsome Shostakovich Eighth.

Salvation sweetness and light in DC's annual Messiah.

The Politics of the New World Symphony: Euro-American Relations.

Donald Runnicles conducts Duruflé's Requiem and orchestral Debussy at the Kennedy. 

A promising start for the NSO's music director designate. 

Nicola Benedetti gives energetic rendition of Marsalis' Violin Concerto.

NSO gives another convincing performance of Shakespeare inspired works. 

Shakespearean actors join the National Symphony Orchestra to open its season with first of two concerts celebrating the Bard.

The NSO ends their season with a fullsome Bruckner's Fourth Symphony. 

Znaider's two-week residency at the NSO ends with an impressive Mahler 1. 

Znaider's dual role: this week, violinist, next week conductor at the  Kennedy Center. 

Osmo Vänskä returns to conduct the NSO for restrained Brahms and a very pleasing Beethoven. 

Picker's succesfully enigmatic premiere of his Opera without Words

Lang Lang, Christoph Eschenbach und das National Symphony Orchestra Washington zu Gast im Wiener Konzerthaus.

Tonight’s all-Germanic program was a selection of items that the Nationa; Symphony Orchestra will be playing next month on the other side of the Atlantic.

All works and stars Eastern European at this evening's performance at the Kennedy. 

Vibrancy and dynamism at the expense of the majesty of the sacred. 

Debuts all round: pianist Igor Levit in Beethoven 5, and a debut of Czech composer's Martinu's Symphony no 6. 

Gianandrea Noseda heats the National Symphony Orchestra up for Rachmaninov's Symphony 2. 

Big moments, largely conceived, but somewhat lacking in overall unity.

Lang Lang powers through Grieg's Piano Concerto to general acclaim.

NSO's debuts for Maestro Donald Runnicles and soprano, Olga Peretyatko. 

Emerging talent to watch in Wolf Trap's summer production of Puccini's Madama Butterfly. 

Leonidas Kavakos conducts Mussorgsky and touching Sibelius with the National Symphony. 

Penderecki's haunting Concerto Grosso for Three Cellos, a first for the National Symphony Orchestra. 

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

Colourful and varied offering from Washington’s National Symphony Orchestra celebrating the many strands of Iberian musical tradition. 

In program notes, Christoph Eschenbach, music director of the National Symphony Orchestra, calls Parsifal “the culmination of Wagner’s work”. For his orchestra’s recent celebration of Wagner’s bicentennial at the Kennedy Center, Eschenbach programmed a concert performance of Act III of the composer’s final opera: the culmination of the culmination, one could say.

Before embarking on a much hyped tour of South America, Christoph Eschenbach and the National Symphony Orchestra concluded their Kennedy Center season with a crowd-pleasing program of Romantic favorites.