Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Robin Ticciati

A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Christopher Purves bosses the show as Méphistophélès; Richard Jones' production is intelligent and carefully thought through but ultimately unconvincing.

Au Théâtre des Champs-Élysées, le violoniste a livré une interprétation époustouflante du concerto de Sibelius. Dirigé par Robin Ticciati, le London Philharmonic Orchestra a laissé une impression plus mitigée dans Bruckner.

Shakespeare's witches would have felt very much at home amidst the heated landscapes on display in this LPO concert featuring Sibelius and Bruckner.

Robin Ticciati and the DSO bring a strong sense of purpose to Rachmaninov's Second Symphony and Christian Tetzlaff explores the extremes of Beethoven's Violin Concerto. 

Now entering his second season as Chief Conductor of the Deutsches Symphonie Orchester Berlin, Robin Ticciati is keen to show the breadth of his repertoire and the extent of the orchestra’s abilities. 

Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.

The annual transfer of a production from Glyndebourne to the Proms this year saw Herheim's baffling production of Debussy's masterpiece. 

Stefan Herheim's dreamlike production of Debussy's opera sets it squarely in the Sussex manor house that gave birth to Glyndebourne's festival. 

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

Christian Teztlaff konnte sich bei Jean Sibelius' Violinkonert ganz auf des Deutsche Symphonie-Orchester Berlin unter Robin Ticciati verlassen.

Is there any instrument more bittersweet than the viola? The violin does the acrobatics, the cello is more conventionally beautiful, but the viola sits in the middle of the orchestral palette like no other instrument. Neither high nor low, it’s perfectly placed to embody the contradictory and the conflicted, ideal for a sense of desire denied or of fulfilment deferred.

Robin Ticciati's final season with the SCO begins with some promising Dvořák. 

A strong cast led by Anna Stéphany's Sesto made the most of the last opportunity to hear Glyndebourne's production of Mozart's final opera.

A refreshing Austro-German programme of works that neatly dovetailed into each other, presented with energy by the Scottish Chamber Orchestra and Robin Ticciati.

A grimly dark setting for Mozart's final opera, Sesto and Tito haunted by childhood memories. 

The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma.  Robin Ticciati led the Met Orchestra to probe a new depth of the score.

A high-level concert with some interesting choices of interpretation – sometimes fascinating, sometimes a bit too bold.

You think semi-staged opera is only half the fun? Think again. Glyndebourne's production of Mozart's oriental opera was a revelation.

Sultry Spanish rhythms and bawdy humour are counterbalanced by Gallic charm in the return to Glyndebourne of Laurent Pelly’s productions of L’Heure espagnole and L’Enfant et les sortilèges. Danielle de Niese joined a largely Francophone cast to ensure this joyous revival fizzed.

David McVicar updates Mozart's Singspiel Die Entführung aus dem Serail to the time of composition in a stylish, tender production at Glyndebourne. 

A pairing of a concerto and symphony from two giants of the 19th century in sensitively shaped performances.

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.

Le mercredi 7 janvier 2015 avait lieu le premier concert de l’année pour l’Orchestre National de France, avec à la baguette Robin Ticciati. Une soirée très étrange, où la musique a permis de lutter contre la tristesse quelques heures après l'attentat. 

  Ticciati also leads a moody "Meditation" by Hosokawa and a blazing Schumann "Rhenish" Symphony. 

Scottish Chamber Orchestra's opening concert of Hosikawa's Harp Concerto and Mahler's Fourth was a study of man and nature. It also offered a welcome chance to hear mezzo Karen Cargill singing to her home crowd.

Glyndebourne’s annual away day from Lewes to the heaving metropolis is always a highlight of the Proms season, but this year’s visit was more hotly anticipated than usual. 

Rossen Gergov conducts a Slavonic Dance sandwich with Haydn and Ligeti filling, Tasmin Little starring in the latter's Violin Concerto.

A hush fell over the auditorium as renowned concert pianist and long-standing friend of the LSO Mitsuko Uchida took her seat for Mozart’s Rondo in A minor for solo piano. A personal tribute to Sir Colin Davis, Uchida opened the Rondo with almost childlike simplicity, the delicate chromaticism of the opening theme played with simplicity and tenderness and a magical connection to the melodic line.

The Scottish Chamber Orchestra made a welcome return to the Proms after two years’ absence (their last appearance was in the late night Prom in 2010), led by their youthful principal conductor Robin Ticciati, who has already been in the post for four years. They brought a programme showcasing the early 19th-century repertoire which Ticciati has recently been exploring with this orchestra.

A concert programme can resemble a puzzle; searching for links and contrasts often results in a more enjoyable, unified experience. I therefore strove to arrive in sufficient time for a careful reading of the programme notes for this performance by the Scottish Chamber Orchestra at Usher Hall, part of the Edinburgh International Festival.

Size mattered in this programme, whether in the form of piano originals filled out to orchestral proportions, or Romantic reach reined in by Classical sensibility. The evening’s opening gesture was down to one man, Ian White, whose muted trombone ushered in Webern’s orchestration of the Ricercar from Bach’s 1747 Musical Offering.

Tchaikovsky’s Eugene Onegin is one of the most beautiful scores in the operatic repertoire, and I don’t blame people who come to it looking forward to immersing themselves in the warm bath of the familiar story and music.

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.

'First impressions are often the truest', wrote Hazlitt. I was immediately struck by the amount of space on the Usher Hall stage, recently filled by so many large symphony orchestras. The Scottish Chamber Orchestra had plenty of space, a feature which was soon to be borne out in the music.

Every year, Glyndebourne brings an opera from their festival to the BBC Proms and adapts it to the Royal Albert Hall stage. This year they brought their hottest production of the summer, The Marriage of Figaro (directed at Glyndebourne by Michael Grandage and adapted for the Proms by Ian Rutherford), and it was wonderful to see the Albert Hall packed to rafters.

Strauss's Tod und Verklärung is the work of a young man seeking to impress with his profundity and modernity after his early success with the wildly exuberant Don Juan. It is often said that the "death" part is more convincing than the "transfiguration" part, and this is largely true - while the former comes off beautifully, the latter is far too prosaic musically for the exalted subject matter.

I would be surprised if, by the end of the evening, I'd been the only one to suspect a hidden pun in the programme's title, 'In The Steppes of Central Europe'. All three pieces shared a dance element. You would expect this from Kodály's Dances of Galánta.