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

Leila Josefowicz’s clear and incisive tones sears through thickets of dissonance in Alban Berg's Violin Concerto, “To the Memory of an Angel”. 

By the close of the performance, one sensed that the audience’s exhilaration stemmed less from polished execution and more from a shared immersion in the music’s dramatic arc—elements that lingered as the defining memory of this eventful evening.

Julia Perry and two Europeans exiled to America feature in Susanna Mälkki's London Symphony Orchestra programme, featuring Leila Josefowicz as soloist in Stravinsky's Violin Concerto. 

In addition to the New York premiere of Luca Francesconi’s Duende: The Dark Notes, the evening is marked by an intriguing coupling of Strauss' Metamorphosen and Ravel's La Valse. 

Thomas Søndergård and the CBSO take a cool, cursory approach to music by Strauss, Thomas Adès and Brahms, resulting in an occasionally powerful but ultimately skin-deep performance. 

Tough, punchy Stravinsky from guest conductor Teddy Abrams and violinist Leila Josefowicz.

At Tanglewood, Dalia Stasevska pairs Sibelius and Stravinsky via a rarely heard orchestration of the former by the latter. 

The BBCSO's Chief Conductor steps in to lead a resplendent Mahler 7; Leila Josefowicz is the soloist for a transcendent Berg Violin Concerto.

Altogether it was the sort of music Gerard Hoffnung might have composed if he had ever held a serious music festival.

Conductor-composer John Adams put his own work in conversation with Ravel and Stravinsky.

John Adams returned to Cleveland to lead two of his own works – including the local première of Scheherazade.2 – framing Copland’s Quiet City and Appalachian Spring.

The Hong Kong Philharmonic opens its 45th season with Mozart, Stravinsky and Rachmaninov. 

Matthias Pintscher wusste als dirigierender Komponist zusammen mit Leila Josefowicz, der außergewöhnlichen Solistin seines Violinkonzerts und dem RCO Beeindruckendes auf die Bühne zu bringen.

Leila Josefowicz ticked all the boxes in this stunning recital: highly imaginative curation; musicality in every note; and a winning ability to communicate to the Wigmore Hall audience.

Mirga's approach to Beethoven's Fifth showed a flair for innovation, the highlight of a strong programme that also featured a virtuosic performance from Leila Josefowciz of Stravinsky's Violin Concerto.

Esa-Pekka Salonen’s colorful program included the first Chicago performance of John Adams’ Scheherazade.2 with dedicatee Leila Josefowicz, along with works of Debussy and Stravinsky.

Canny programming very much shone the spotlight on the performance of John Adams recent ‘dramatic symphony’ Scheherazade.2, preceded by Bartok and Stravinsky rarities.

Un bien beau concert en ouverture du Festival de la Bâtie : rien de moins que du John Adams par John Adams. En prime, son concerto, servi par une des interprètes qui connaissent le mieux ce répertoire, nous a permis de goûter aux délices des mélopées orientalistes de Scheherazade.2 ! Un must ! 

A new work by Anthony Cheung based on the Orpheus legend and thrilling excerpts from Wagner’s Götterdämmerung rounded out this week’s program.

Das Finnische Radio-Sinfonieorchester unter Hannu Lintu beginnt seine Tournee mit einer österreichischen Erstaufführung.

John Adams' Scheherazade.2 is chalking up performances around the world. Would it live up to expectations? 

John Adams conducts his Scheherazade.2, giving a strong depiction of the oppression of women in extreme religious societies. It makes for a fascinating evening.

Exquisite Boulez and Francesconi from Mälkki and the BBC Symphony Orchestra, before the conductor pushed the ensemble to its limits in The Planets.

John Adams conducted the Atlanta Symphony Orchestra in works ranging from the frothy to the very serious, including his latest composition, Scheherazade.2.

The influence of words and storytelling is apparent from Mr Adams’ dense score to Scheherazade.2, which broods throughout with cinematic yet unpredictable intensity.

Appearing at Milton Court, Leila Josefowicz enclosed three short utterances from the 20th century with two works by Schubert. After a shaky start to the evening, Josefowicz turned out an impressive performance full of fire and flair, excelling in Stravinsky’s Duo concertant.

Esa-Pekka Salonen’s Violin Concerto "Out of Nowhere" received its long overdue UK première by the BBC Symphony Orchestra and Leila Josefowicz. Flanked by Sibelius’ Pohjola’s Daughter and Shostakovich’s Symphony no. 5, this was an exciting programme played brilliantly under Sakari Oramo.

My big night out this week was spent at the New York Philharmonic’s Tuesday evening concert, surely the case for most other 23-year-olds. (I kid, and yet over the past couple of years I have noticed a decided increase in young faces at Avery Fisher Hall.) I had intended to sit anonymously in the audience and get swept into the music like a leaf in the autumn wind.

When a conductor decides to lead a performance without a score, it really means two things. One is obvious: a deep and intimate familiarity with the music. Less obvious, though, is the implication of trust in the musicians of the ensemble. On Friday, young Spanish conductor Pablo Heras-Casado delivered a spectacular interpretation of Mendelssohn’s Symphony no.

One of the most well-known pieces of the twentieth-century classical repertoire is of course Igor Stravinsky’s ballet The Rite of Spring.

As Philip Glass’ Symphony No. 9 ground to a halt last Thursday night, cellos and basses trailing off into silence, a few things came into focus. First, there was no missing the irony that Philip Glass, once among the outsiders of the musical world, should nearly a half century later find himself one of the American school of composition's most revered composers; perhaps its dean.

When a guest conductor arrives for a few concerts with an orchestra, he or she doesn’t have very much time to shape his or her interpretation. On some occasions the orchestra successfully adopts the visitor’s style; on others they just play like they always do.

On December 1st, the Toronto Symphony Orchestra welcomed guest conductor Andrey Boreyko to guide them through a journey of "Russian Gems." Boreyko made his debut with the TSO in October 2003 and has had a prolific career through guest conducting and as a music director.

I had extremely high expectations for this evening of music at the Concertgebouw; I’m a huge Thomas Adès fan and ever since I’d seen Leila Josefowicz play Esa-Pekka Salonen’s violin concerto I was more than impressed with her. Three Dutch premières of Thomas Adès’s music, as well as his debut as a conductor for the Concertgebouworkest certainly made an inspiring billing.

This evening’s programme showed us two aspects of Prokofiev’s output – his serious concert works for the stage and on the other hand his more populist music composed for film. Both were highly exciting, colourful works, and both typical of Prokofiev in different ways.The First Violin Concerto was a curious mixture of the ethereal and rustic.