En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | BBC Scottish Symphony Orchestra

Chloé van Soeterstède led the BBC Scottish Symphony Orchestra in a program of three light works clustered around the Schumann A minor Cello Concerto.

Themes and Variations from Brahms and Dvořák, haunting Britten with Stuart Jackson and Alberto Menéndez Escribano, John Wilson standing in to conduct at City Halls, Glasgow. 

Georgia Jarman proves a flamboyant soloist in Szymanowski's Love Songs of Hafiz. 

A fascinating new companion piece to Elgar's Enigma Variations, from 14 contemporary composers, in celebration of Martyn Brabbins' 60th birthday, performed with enthusiasm by the BBC Scottish Symphony Orchestra.

I’ve heard this concerto a hundred times but it’s never sounded quite like this. It was a coming home.

Strauss’ Also sprach Zarathustra fills the Royal Albert Hall, while Schumann’s piano concerto is followed by MacMillan’s masterpiece The Confession of Isobel Gowdie. 

Viktoria Mullova is dazzling in Sibelius' Violin Concerto but the audience of Sage Gateshead fail to make their mark when asked to sing along to Finlandia. 

The BBC Scottish Symphony and Thomas Dausgaard unite Wagner, Strauss and a 43-year-old symphony from a modern Danish master.

Recreating the programme from Leonard Bernstein's first Prom, Thomas Dausgaard forged his own route through Mahler's Fifth. 

Thea Musgrave’s pictorial writing sits well next to an exhilarating Vaughan Williams Sea Symphony. 

An imaginative pairing of London symphonies find the BBC Scottish Symphony Orchestra in good form. 

Ilan Volkov conducts the BBC Scottish Symphony Orchestra in an attractive account of Strauss' mighty Alpine Symphony.

Retour sur le concert du BBC Scottish Symphony Orchestra au Concertgebouw de Bruges.

BBCSSO with Thomas Dausgaard, the Lund Male Choir and soloists gave a thrilling performance of Sibelius’ Kullervo with Finnish folk musicians joining the forces.

Breezy Ravel from Steven Osborne and a clear warning about the dangers of drug-taking from the BBCSSO at Sage Gateshead.

Rachmaninov was not an especially religious man, yet he composed religious music, most famously the haunting All-Night Vigil (or Vespers) which was the climax to this evening's two Proms. 

It is dramaturgically risky pitting one musically dark and unfinished work against another. Thomas Dausgaard and the BBC Scottish Symphony Orchestra rose to the challenge in Schubert and Mahler.

Ilan Volkov and the BBC Scottish Symphony Orchestra deliver a flawless execution on a night of premières at the Royal Albert Hall.

A striking performance of The Planets had people humming their favourite bits on their way out of the hall, but the real winner was Vaughan Williams’ neglected valedictory symphony.

BBCSSO and Richard Farnes’s special chemistry in a night of British music. Thoughtful Butterworth and noble Elgar and  Lawrence Power joined the forces for a wonderfully spirited performance of Macmillan’s Viola Concerto.

An excellent performance of Sir Harrison Birtwistle’s The Last Supper receiving its Scottish première, with Roderick Williams and Susan Bickley heading a luxury cast.

Donald Runnicles, Carolyn Sampson and the BBC SSO shine in a programme of early Mozart and Mahler's Fourth Symphony.

Après un concerto pour piano de Mozart un peu décevant malgré l'interprétation très juste d'Imogen Cooper, le BBC Scottish Symphony Orchestra donne une lecture exaltante de la neuvième symphonie de Bruckner, sous la baguette de Thomas Dausgaard.

Donald Runnicles ends the 2016 Edinburgh Festival with Gurrelieder. 

In a study of shifting form, tonight's dedication to the bard paired Mendelssohn's incidental music to the play with another work inspired by The Metamorphoses: Matthias Pintscher's mesmerising Reflections on Narcissus.

An opportunity for the human voice to shine in works by Mahler and Mozart, performed by the BBC Scottish Symphony Orchestra conducted by Ilan Volkov, with an opening work by Gérard Grisey.

The BBC Scottish Symphony Orchestra's prom brought to a fitting close a magical weekend of music from musicians north of the border.

Finnish violinist Pekka Kuusisto is anything other than ordinary in a concert that shows off the BBC Scottish Symphony Orchestra at their best.

Donald Runnicles in his farewell concert as Chief Conductor with the BBCSSO went out in style with a golden Brahms Second Piano Concerto and a glorious account of Mahler’s First Symphony.

Alisa Weilerstein and the BBC Scottish Symphony Orchestra under Rafael Payare rendered a thrilling performance of Shostakovich’s Second Cello Concerto in Leeds.

The BBC Scottish Symphony Orchestra under Thomas Dausgaard took us on a Finnish journey in a haunting programme of Sibelius' last three symphonies. 

The BBC Scottish Symphony Orchestra tackle two elusive Sibelius symphonies and a new work by Michael Finnissy in a packed programme at the Proms.

The BBC Scottish Symphony Orchestra and Thomas Dausgaard open a cycle of symphonies by one of this year's birthday boys at the Proms, Jean Sibelius, prefaced by a signature work.

Première of MacMillan’s Fourth Symphony is the highlight of BBC Scottish Symphony Orchestra’s second Proms outing.

We find Donald Runnicles and his BBC Scottish Symphony Orchestra on fine form for a dramatic Verdi Requiem, packed with magical sound pictures and lashings of all-important terror. 

In this Nordic year, a rediscovery of Wilhelm Stenhammar's First Symphony is a fascinating benchmark. Meanwhile, Steven Osborne completes the Beethoven Piano concerto cycle in a thoughtful performance.

Volkov conducts BBC SSO in a Russian retelling, with acclaimed bass, Yuri Vorobiev. 

The best stories are the ones that creep under right under our skin and stay with us. Matthias Pintscher drew us up close to the fire on a dark night for a spellbinding evening.

The BBC SSO and Ilan Volkov close EIF 2014's contemplations on 'Conflict and Culture' with dark Mills and dramatic Janáček.

Vaughan Williams' Pastoral Symphony is anything but "lambkins frisking", drawing on the composer's experiences in the First World War. In this poignant concert, it was partnered by a trio of works by composers - from both sides of the trenches - who died in action. 

Prom 39 at the Royal Albert Hall presented a highly unique programme spanning 250 years of classical music, with Rameau, Rands, Mozart and Strauss who all celebrate a milestone this year.

Vaughan Williams Tallis Fantasia ravishes, but BBC Scottish Symphony Orchestra's Mahler Nine was unsettled as it was unsettling. 

Prom 23 contained a mixed programme of McLeod, Beethoven and Mozart. Whilst each piece was enjoyable in its own right, and some truly outstanding musicianship was evident throughout the evening, the lack of connection between the pieces left a feeling of unsettledness.

There is always something special when a piece is performed in the presence of a composer, and even more so when the composer conducts a famous and popular work. James MacMillan conducted the BBCSSO in The Confession of Isobel Gowdie to help celebrate Commonwealth Day in Glasgow. 

James MacMillan conducted two rediscovered early orchestral works for the first time with the BBC Scottish Symphony Orchestra at City Hall, Glasgow.

As a fan of contemporary music and, indeed, minimalism, I was disappointed to find the programme at Prom 50 underwhelming overall. This was not for lack of trying, however – I wanted to enjoy it. But after allowing the music time to sink in further and my thoughts to settle, my opinions only seemed to have become more resolute.The evening started promisingly.

Poor Ravel: even in death his significant talents are overshadowed by Debussy. Barely had the ink dried on his orchestrated Rapsodie Espagnole before it was eclipsed by the emergence of his iconoclast friend and rival’s equally Hispanic-tinged suite Iberia and, over 90 years on, the programme notes to Prom 48 contain a detailed discussion on whether Ravel’s legacy has been obstructed by his contem

If a single word can express disappointment without surprise, it would capture my feeling upon surveying the seats before this concert of 20th-century music at the Usher Hall. My heart went out to the musicians. However, upon seeing Ilan Volkov’s happy and positive demeanour and hearing the first notes, all such negativity dissolved, never to return.

In Act II of Tannhäuser, Hermann, Landgrave of Thuringia, sets the theme of the singing contest that is about to take place in his hall by asking: “Can you describe love’s nature to me?” To some extent, the entire opera is an examination of two very different answers to that question.