Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Orchestre symphonique de Montréal

As part of its Schubert Festival, the Orchestre Symphonique de Montréal wowed the audience with a concert that featured excerpts from Rossini operas as well as two Schubert symphonies.

Yefim Bronfman's performance of Mozart's Piano Concerto No. 24 highlighted Maestro Lorenzo Viotti's guest-conducting appearance with Montreal's Orchestre Symphonique.

Native sons Samy Moussa and Andrew Wan combine their considerable talents for a sensational world premiere of a violin concerto that was commissioned by the Orchestre symphonique de Montréal.

Éloquence, maîtrise technique, conscience stylistique : tous les ingrédients étaient réunis pour une soirée d'exception, avec François-Xavier Roth, l'Orchestre symphonique de Montréal et le pianiste Pierre-Laurent Aimard.

Kent Nagano a livré une Symphonie n° 3 de Mahler découpée au couteau, avec des moments d'une rare beauté, mais d'autres qui nous laissent davantage sur notre faim.

Michael Tilson Thomas had a spectacular debut with Montreal's Orchestre Symphonique. George Li's performance of Liszt's Piano Concerto No. 1 was breath-taking. 

Three contrasting 20th-century masterworks were judiciously crafted and insightfully honed by the Orchestre Symphonique of Montreal and their music director Kent Nagano.

A fresh approach to two late Mozart works earned the adulation of a Montreal Symphony Orchestra audience.

Bei seiner Abschiedstournee mit dem Orchestre symphonique de Montréal zeigt Nagano nuancenreiche Interpretationen.

Sous la direction de Kent Nagano et en compagnie de Marie-Nicole Lemieux, l'Orchestre Symphonique de Montréal enchaîne les chefs-d'œuvre symphoniques à la Philharmonie, de Jeux au Sacre du printemps.

Concert costaud samedi dernier à la Maison symphonique de Montréal, avec le Concerto pour violon de Dvořák, la Symphonie n° 3 de Brahms et la création de Hunger de la compositrice Zosha Di Castri.

It is a high order to mount a captivating performance of a work so widely known and performed as Handel's Messiah. 

Un concert qui laissera comme une trace lumineuse, un souvenir de joie sans mélange.

L’Opéra de Montréal présentait samedi Dialogues des Carmélites, une production réunissant Serge Denoncourt et Jean-François Rivest. Pour rendre l’univers de Poulenc, ceux-ci ont respectivement fait le choix d’une mise en scène sobre et d’un orchestre expansif : un mélange qui, avec l’arsenal d’interprètes à leur disposition, a donné de brillants résultats.

La Maison Symphonique de Montréal accueillait mardi le pianiste Marc-André Hamelin et l’Orchestre Symphonique de Montréal, sous la baguette de Kent Nagano, pour un concert intitulé « Haydn & Reich ». Au programme : Eight Lines de Reich, le Concerto en sol de Ravel et la Symphonie n° 104 de Haydn.

Kent Nagano and OSM wowed with cerebral approach to Carmina Burana.

The OSM closes out the 2015-16 season with all guns blazing and an ethereal flag of peace in a splendid battle of Britten.

Visiting conductor Vasily Petrenko leads the Orchestre Symphonique de Montréal in an energetic interpretation of Mahler and Prokofiev.

The Orchestre Symphonique de Montréal and Kent Nagano give terrific performances of Debussy, Prokofiev and Stravinsky as they embark on their American tour. 

An impressive trio of international singers carry Opéra de Montréal's traditional new production of this Verdi tragedy.

It was no Christmas miracle, but the OSM's technically strong Bach concert brought a dignified kind of cheer to the most wonderful time of the year.

Nicolaj Znaider proves a better conductor than soloist with the OSM in programme of works by Mozart, Smetana and Dvořák. 

With Mahler’s arrangement of Bach orchestral suites and Shostakovich’s Tenth Symphony, this concert showcased the many ways that composers have placed musical signatures on their work.

The stark aesthetic contrast between Ives’ Symphony no. 4 and Tchaikovsky’s Piano Concerto no. 1 led to an evening of music that was diverse, challenging and very entertaining.

Nagano and the Orchestre Symphonique de Montréal imbued programmatic works with a sense of excitement, sprinkling the magic dust that brought each works’ characters to life.

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.

Kent Nagano and the OSM came up trumps in concert version of Debussy’s Pelléas et Mélisande.

Ranging from the famous Grieg Piano Concerto to a lesser known work of Sibelius, this concert featured a vast array of orchestral colour evoking the shimmering landscapes of the North.

Works of Chopin and Tchaikovsky on this concert displayed the two faces of Romantic music – the quiet intimacy of the individual and the expressive power of the whole. 

While Glass' latest music has managed to package and sell a form of experimentalism to the masses, it also sparks debate about style versus substance.

This concert was an intimate occasion to witness a master pianist breathe life in to favourites as well as lesser known works for the piano.

In collaboration with the Montreal Museum of Fine Arts, musicians of the Orchestre Symphonique de Montréal presented late 19th century chamber music of Spanish and French composers. 

The Orchestre symphonique de Montréal’s program was a collage-like display of the diverse music that emerged from composers in New York City from 1936 to 1956. 

The OSM chorus and a well-matched quartet of Canadian soloists dominate the OSM’s Messiah conducted by Andrew Megill. 

Kent Nagano and the Montreal Symphony Orchestra perform Mozart favourites and Saint-Saëns' third violin concerto

Swedish soprano Miah Persson dominates the Orchestre symphonique de Montréal’s enterprising Romantic Lieder program conducted by Kent Nagano.

The Orchestre Symphonique de Montréal’s matinee concert “Amor!” was a welcome excursion, sweeping the audience off through the colourful musical tradition of warm, sunny Spain.

Billed as “Midori performs Mendelssohn’s Violin Concerto”, this Orchestre symphonique de Montréal concert conducted by James Colon was notable for a blazing performance of Zemlinsky's symphonic poem Die Seejungfrau.

Yuja Wang has the virtuosity for Rachmaninov in spades and stamina to spare, but her technically brilliant performance raised the question of whether it all wasn’t a little too easy.

Michel Plasson returns to l'Orchestre symphonique de Montréal in a program of French music and Karina Gauvin resplendent in Britten's Les Illuminations. It was an object lesson in how to capture the essential essence of French music. 

A substantial musical menu of works by Wagner, Liszt and Berlioz, the poster boys of 19th century Romanticism, along with a world première, presented by l'Orchestre symphonique de Montréal, Marc-André Hamelin and Kent Nagano. 

The Opéra de Montréal's production of Porgy and Bess is both an artistic success and a reaffirmation of the work's importance.

The OSM opened their 2014 offering with an evening of Beethoven. Kent Nagano was at the helm with pianist Radu Lupu as the soloist in the Fourth Piano Concerto.

The grand finale of this year's Montreal Bach Festival was the Mass in B minor with the Orchestre Symphonique de Montréal and Kent Nagano, joined by an impressive set of soloists.

Every city has its favourites, and Jan Lisiecki is Montreal’s darling. There was a sense of proprietary pride in the audience as he strode across the stage at the Maison Symphonique, to join Kazushi Ono and the Orchestre Symphonique de Montréal.

This seemingly disjointed program from Jacques Lacombe and the Orchestra Symphonique de Montréal included music by Berlioz, Dvořák and Ravel, in addition to a new work by Serge Arcuri: all voyages of complementary but fundamentally different kinds.

Though museums have long been host to musical events, a partnership between the Orchestre Symphonique de Montréal with conductor Kent Nagano and Musée des Beaux-arts de Montréal brought art to the concert hall this Wednesday evening.

Joan of Arc endures even today as one of history’s most obsessed-about martyrs. It’s no wonder when you consider that her story is of such uniqueness and potency: a poor, low-born French villager submerged in a war-battered France; it was the Hundred Years’ War, and as a child she witnessed several raids, both military and outlaw, and on one occasion saw her village burned.

The program this evening was quite significantly lopsided – though most programs containing Mahler symphonies end up being this way. Tonight’s juxtaposition was quite profound, perhaps even more than usual. Mozart’s Piano Concerto no. 18 in B flat major was poised like a pebble next to a mountain. It was a polished pebble, but minuscule in comparison nonetheless.