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

José Trigueros se ponía al frente de la Sinfónica de Galicia por segunda vez con un programa complejo que incluyó el tercer concierto de Rachmaninov con Simon Trpčeski como solista.

La Orquesta Filarmónica de Oslo, con el laureado Vasily Petrenko a la batuta, en Madrid, un concierto remarcable en el que el solista, Simon Trpčeski, demostró una técnica y claridad pianística abrumadora.

Sobresalieron las intervenciones solistas de la madera, la textura de archi -cimentada, fundamentalmente, en el balance entre bajos y violines logrado por Bringuier- y la aportación cromática de la percusión y el arpa. La fuerza de los tutti fue patente, pero operando mediante un contorno nebuloso y conscientemente difuminado, ciertamente apropiado para el espíritu de la sinfonía. 

Under the baton of Domingo Hindoyan, the Tonkünstler brings Latin America and Dvořák's New World Symphony to the Musikverein. 

Thrilling Tchaikovsky, chilling Prokofiev and a discovery filled with sonic imagination mark the return of Osmo Vänskä and Simon Trpčeski to Seattle Symphony.

Gianandrea Noseda’s awareness of colour, texture and detail repays dividends in the symphony, whereas Simon Trpčeski’s absence of muscle and full-blooded Romantic sentiment does Brahms no favours in the concerto.

Brahms disliked Tchaikovsky’s music, but the two made a superb pair in this concert with Gianandrea Noseda on the podium and Simon Trpčeski at the keyboard.

Ukrainian bass Ukrainian Vitalij Kowaljow brings drama and authority to Shostakovich's Babi Yar, while Simon Trpčeski offers a classical Emperor. 

Ligeti, Grieg, Beethoven and 100 metronomes offer an unusual combination from the Ulster Orchestra in Belfast.

The Russian conductor proves a super stand-in for Shostakovich, while Simon Trpčeski has fun with the Second Piano Concerto.

The joy of Maxim Vengerov and Simon Trpčeski playing together was as palpable in Franck's sonata as it was in Prokofiev's.

Maxim Vengerov and Simon Trpčeski put their consummate musicianship on show and give us Prokofiev and Franck to remember.

Vasily Petrenko's time as Chief Conductor of the Liverpool Philharmonic draws to a close with a celebratory evening of Shostakovich, Schreker and more.

Showing exquisite tonal colouring in Brahms and Liszt, Trpčeski mesmirised the audience with his bravura in Mussorgsky and Prokofiev. 

Dans Brahms, Liszt, Prokofiev et Moussorgski, le pianiste macédonien pousse l'art du clavier à un degré stupéfiant de raffinement.

After an enjoyable but safe Rachmaninov Piano Concerto no. 2, Altinoglu celebrates his birthday by rendering each of Pictures at an Exhibition in extravagant orchestral Technicolor.

Simon Trpčeski gives a commendable performance of Brahms’ Second Piano Concerto, whilst Gabriel Bebeşelea conducts the Ulster Orchestra in a thought-provoking Sibelius Second Symphony.

Jakub Hrůša and Simon Trpčeski with the New York Philharmonic Orchestra impress at Lincoln Center with a programme of works from Central and Eastern Europe. 

Dvořák’s Slavonic Dances were a treat and Simon Trpčeski was characteristically glistening in Shostakovich, but the surprise package turned out to be a rarely heard work by Kabeláč.

The BSO deliver a malevolent Walton Symphony no. 1 and a joyous Elgar In the South. Meanwhile, Trpčeski provides lovely moments in Tchaikovsky's Piano Concerto no. 1. 

Simon Trpčeski tackles a solo piano arrangement of Rimsky-Korsakov's orchestral masterpiece along with gentler Grieg and Mendelssohn. 

Mettre ensemble, faire avancer la musique, modeler les phrases, les nuances, donner les départs sans jamais s'interposer ni entre le public et les musiciens ni entre eux et la musique : voilà la leçon de direction donnée par Neeme Jarvi.

Vassily Sinaisky returns to Birmingham, partnered by a Macedonian pianist.

Durch und durch russisch präsentierte sich der Saisonauftakt des Musikverein Graz, der im Vorfeld noch durch eine kurzfristige Programmänderung gerettet werden musste.

A generous programme that brought out much felicitous detail from the LSO in Debussy’s Jeux and plenty of sparkle from Simon Trpčeski in Bartók, but it was Mahler that took game, set and match. 

Mercredi soir, nous fûmes cueillis par la Maestria d’un chef superlatif dont le talent à la baguette est éblouissant. Bravo Monsieur Petrenko !

The Slav pianist brings his informal vision of Bartók to Symphony Hall.

Vasily Petrenko conducted the Oslo Philharmonic in a magnificent evening of Grieg, Mahler and Rachmaninov with Simon Trpčeski

Robert Spano, the Atlanta Symphony Orchestra and soloists perfrom Shostakovich's Symphony no. 14. 

Cristian Măcelaru brought his pedigree as a conductor to the CBSO with Sibelius, Rachmaninov and Nielsen. How would he fare in Birmingham with such a varied programme?

Simon Trpčeski gives us precision and delicacy in a magical Ravel Piano Concerto in G major; fine singing from Karen Cargill can't prevent Ticciati's Mahler 4 from falling flat.

Prokofiev and Bartók bring out the best in Lionel Bringuier in his Philharmonia Orchestra debut, joined by pianist Simon Trpčeski. 

An exciting programme, although not without flaws, kicked off the Oslo Philharmonic's new season.

From the very first bars of Brahms’ Intermezzi Simon Trpčeski thrilled the audience at Southampton's Turner Sims in a performance of Brahms, Ravel and Poulenc.

Ilyich Rivas conducts his first official performance with the London Philharmonic Orchestra in a programme of Dvořák, Tchaikovsky and Mahler, concluding with a rare performance of Shostakovich's Symphony no. 1.

Tchaikovsky’s early symphonies are getting a fair bit of exposure at present, both in the concert hall and on disc, thanks to several complete symphony cycles being undertaken in the UK by the London Symphony Orchestra, London Philharmonic Orchestra, Bournemouth Symphony Orchestra and, here in Birmingham, by the City of Birmingham Symphony Orchestra.

Can Shostakovich without bitterness still be Shostakovich? Can a performer still do justice to his music if their interpretation does not match the style and tone of Soviet-era musicians? These questions rise to the fore as the living memory of Dmitri Shostakovich fades further with every passing year.

Severance Hall was full on Saturday evening for the Cleveland Orchestra debut of one of the hottest young conductors on the scene today: Robin Ticciati. Not yet 30, Mr Ticciati is conductor of the Scottish Chamber Orchestra and Music Director-designate at Glyndebourne.

The moment I walked into the Avery Fisher Hall on Monday night, a pervasive air of festivity was palpable – the players in the orchestra wore white jackets, lighting was colourful and the audience was chatty.

In the UK, chamber orchestras these days have a slightly old-fashioned image: groups such as the English Chamber Orchestra, the Academy of St Martin in the Fields, and the London Mozart Players – who played a vital part in our musical life of the 1970s and 80s – have recently been struggling to maintain their profiles.

In the relay race of Russian Romanticism, Rachmaninov clearly took the baton from Tchaikovsky and made a dash for the finishing line. In transcribing some of Tchaikovsky’s works, he would have imbibed much of his genius, but he took the Romantic tradition into the 20th century in a new direction without losing its essence.