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

La Sinfónica Nacional nos ofreció un programa completamente dedicado a Brahms con una selección de obras sinfónicas y corales.

El Instituto Nacional de Bellas Artes cumplió setenta años. Para celebrarlo, la Orquesta Sinfónica Nacional, una de sus principales agrupaciones, preparó un programa que tuvo como número principal la cantata Dona nobis pacem de Vaughan Williams.

In his first New York appearance since the termination of his contract as BSO Music Director, Nelsons courts public sympathy and makes some thrilling music.

The season-ending performance of Beethoven's Ninth Symphony loses its intended conductor but remains enjoyable, if somewhat under-rehearsed. 

Nelsons stresses refined dynamics, rhythmic drive, balance and contrast as he closes the Beethoven Festival in style. 

A well thought-out, fearless, affirmation of hope which drew its listeners ever upwards into the realm of ecstasy.

Karina Canellakis conducts a Franco-Prussian program featuring Beethoven and Brahms in the first half, Chausson and Ravel in the second. 

The closing concert for the triple anniversary of Serge Koussevitzky and the BSO takes a fittingly ritualistic turn.

Thomas Adès conducts music from his own ballet score to The Dante Project and Stravinsky's Persephone. 

Andris Nelsons makes no apologies for Shostakovich's Third Symphony, allowing it to blare, blaze, and bloviate as written.

Profound questions as the Tanglewood season closes with the traditional appearance of Beethoven's Ninth Symphony. 

Sir Antonio Pappano molds a dramatic yet intimate performance of Britten's great choral work, powerful and moving.

After Helen Grimes makes her Symphony Hall debut, Johannes Moser is the soloist in William Walton's Cello Concerto, before Maurice Duruflé's Requiem comes as welcome consolation. 

Three firsts and an old friend, plus a probing Daniel Lozakovich add up to a memorable evening of music at Symphony Hall. 

The Boston Symphony Orchestra under the baton of Andris Nelsons opens its 139th season with Poulenc, Beethoven and a world premiere of Eric Nathan's Concerto for Orchestra.

Ken-David Masur and James Burton step in for Gustavo Dudamel in a program featuring Antonio Estévez' Cantata criolla.

A great close to Maher's Second Symphony in Boston, paired with an earthbound curtain raiser. 

Under Andris Nelsons' baton, the musical canvas was remarkably supple with proper light shed on Puccini’s melodic inventiveness and wondrous orchestration.

John Relyea owns the stage as Méphistophélès in Boston Symphony’s Faust. 

Amazing for his young age, Andris Nelsons grasped the essence of Mahler's spiritual quest in coming to terms with life's challenges

Charles Dutoit stands as arguably today’s premier Berlioz conductor. If his case needed any special pleading, it was pled well in Symphony Hall when he bracketed the Resurrexit and Te Deum with Henri Dutillieux’s Timbre, espace, mouvement ou La Nuit étoilée.

Mozart’s Così fan tutte is a comic opera filled with deceit, disguises and betrayal, all carried along by a breathtaking score and witty lyrics. What better way to start ETO’s Spring 2013 season than with a new rendering of this timeless work, in a brilliantly clever English translation by Martin Fitzpatrick.

The main course of the sumptuous feast, under the title of the Valletta International Baroque Festival, arrived on 17 January. The fare was an international favourite with a Maltese surprise.The concert, the eighth in the series, was given by the Orchestra of the Age of Enlightenment in the magnificent setting of the ornate St John’s Co-Cathedral.