Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Sächsische Staatskapelle Dresden

La dirección de Thielemann fue una prolongación del texto, que crepitaba en la memoria, y su cuerpo de principio a fin, sencillamente, se fundió con la música.

La Staatskapelle Dresden con Thielemann al frente cierran la Serie Arriaga de la temporada XLVII de Ibermúsica. Junto a ellos, Daniil Trifonov demostró su inmenso talento en el concierto para piano de Ravel.

À la tête de la Staatskapelle de Dresde, phalange spécialiste de la musique mozartienne, Philippe Herreweghe fait merveille dans les trois ultimes symphonies de Mozart... malgré la chute (sans gravité) d'un hautbois. 

Outstanding playing from soloist and Staatskapelle Dresden makes this a Prom to remember.

John Osborn leads a very successful premiere of Peter Konwitschny's new production of Meyerbeer's Les Huguenots in Dresden

Saioa Hernández leads a solid cast in Dresden in a somewhat disappointing new production by David Bösch.

Rudolf Buchbinder commence son marathon Beethoven avec une interprétation éblouissante des deuxième, troisième et quatrième concertos, tout en dirigeant la Staatskapelle de Dresde depuis le piano. 

Avec la Staatskapelle de Dresde, Rudolf Buchbinder conclut son marathon beethovenien par une lecture majestueuse du Concerto n° 1 et du célèbre « Empereur ».

What brought real distinction and authenticity to the evening, as so often in this house, was the outstanding playing of the Staatskapelle conducted by Tomaš Netopil. From the start of the overture with its rapidly scurrying fugato for strings and pointed phrasing from the woodwind one felt the true sense of Smetana’s Czech inflected rhythms and harmonies

Die technisch-kühle Interpretation von Dvořáks Werk durch Christoph Eschenbach und die Sächsische Staatskapelle Dresden konnte weder von den Solisten noch vom großartigen Chor in Karfreitagszauber verwandelt werden.

Christian Thielemann led a memorable performance of Strauss's chamber opera Ariadne auf Naxos with a strong cast in a new straightforward production by David Hermann.

If you like your Schumann symphonies the old fashioned way with lush, sonorous strings and heroic horns and brass, then Thielemann and the Staatskapelle Dresden are for you.

Die Staatskapelle Dresden präsentiert mit Christian Thielemann und dem meisterhaften Denis Matsuev Brahms, Weber und Liszt in Luzern.

With a plethora of theatre seats, stools and benches it was as if Willy Decker and Wolfgang Gussman had been elected ‘Chair-men of the bored”.

The third installment of Semperoper Dresden’s Ring des Nibelungen cycle ups the ante with an outstanding ensemble performance.

Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of  Die Walküre. 

Wagner demands vocal resilience from the large cast of singers in Das Rheingold, but Willy Decker wants strong thigh muscles as well.

In a score that can be a Technicolor wallow, Jurowski’s sure sense of dramatic pulse and balance, encompassed the brash dance rhythms, religious grandeur, vivid tone painting and the extremes of dissonance.

An exceptional musical performance was enhanced by a streamlined but ultimately moving staging in an evening of near perfection in Dresden.

Renée Fleming swoons in Strauss' Four Last Songs, while having Christian Thielemann and the Staatskapelle Dresden are our guides in the Alpine Symphony. 

Mit Faurés Requiem und Saint-Saens Orgelsymphonie bilden zwei spätromantische Werke das Programm des Chorkonzertes der Salzburgerfestspiele, in dem besonders der Chors des BR beeindruckt.

Christian Thielemann, the Staatskapelle Dresden and a star-studded cast compress Wagner's Ring cycle into a tale of Siegmund, Sieglinde, Hunding and Brünnhilde.

Pianist Kit Armstrong proved that prodigious talent and good taste can be found in the same artist, while Christian Thielemann disappoints in Strauss’ blockbusting Alpine Symphony.

„Meine Wunderharfe“, so nannte Richard Wagner liebevoll die Sächsische Staatskapelle Dresden, der er Mitte des 19. Jahrhunderts für kurze Zeit als Kapellmeister vorstand. Diesem wohlklingenden Beinamen sollte das Dresdner Ausnahmeorchester am 11.9. im Münchener Gasteig wieder einmal alle Ehre machen.[image:16216] Das Konzert begann mit dem berückend schönen Klavierkonzert Nr.

A polished and deeply moving Beethoven Violin Concerto from Nikolaj Znaider was complemented by exquisite and vibrant performances of Max Reger and Richard Strauss from the Staatskapelle Dresden.

Thielemann and the Dresden Staatskapelle show that they are world class; Daniil Trifonov shows total mastery of his instrument in Mozart.

Anna Netrebkos und Piotr Beczalas Lohengrin-Debüt unter Christian Thielemann an der Semperoper bringt das Haus zum Beben.

Anna Netreboko chose to perform her first Elsa in Dresden with Christian Thielemann conducting.  It was a remarkable performance never to be forgotten.

For the centennial celebration of Max Reger’s death, American pianist Peter Serkin and Herbert Blomstedt travelled to Saxony, the composer’s birthplace, touring orchestras with his Piano Concerto in F minor.

Anne-Sophie Mutter, Lynn Harrell und Yefim Bronfman bezauberten das Festivalpublikum wie erwartet.. 

Minimalistisch im Bühnenbild aber groß im Klang: Die Salzburger Osterfestspiele wurden mit einem gemischt aufgenommem Otello begonnen, wobei Röschmann als Desdemona durchweg überzeugte. 

Rudolf Buchbinder zeigte ein weiteres Mal, welch bestaunensswerte Interpretation aus langjähriger Quellenforschung erwächst. 

Am Dienstag vor genau 467 Jahren unterzeichnete Moritz von Sachsen das Gründungsdokument der heutigen Staatskapelle. Aus diesem Anlass präsentierten Mitglieder des Orchesters am Dienstagabend vier Werke aus Tradition und Moderne.

Mit spannendem Bühnenbild und gerissener Personenführung schafft die neue Dresdener Produktion der deutschesten aller Opern, Webers Freischütz, den Spagat zwischen Tradition und Kitsch.

Die Osterfestspiele bieten ein seltenes Konzerterlebnis, bei dem vom Grundschulkind bis zum Rentner Jung und Alt zusammen kommen, um sich von der Staatskapelle Dresden begeistern zu lassen.

Ein Osterfestspielabend voll von großer Musik gespielt von einzigartigen Musikern: Arcadi Volodos fasziniert das Salzburger Publikum und harmoniert vortrefflich mit der Staatskapelle Dresden.

Mit Sofia Gubaidulinas zweitem Violinkonzert und Bruckners Neunter boten Gidon Kremer und die Sächsische Staatskapelle Dresden unter der Leitung von Christian Thielemann ein wahres Klangerlebnis für das Berliner Publikum.

While there are jarring visual aspects to this production of Bizet's Carmen at the SemperOper, Dresden, this was an enjoyable performance which is a feast for the ears, if not the eyes.

A modern, simple production of Simon Boccanegra at Dresden's Semperoper, doesn’t interfere with the action.  

Erika Sunnegårdh’s Salome impresses in a revival of Peter Mussbach's striking production at the Dresden Semperoper. 

Peter Konwitschny’s Tannhäuser at Dresden’s Semperoper dates back to 1997, making it relatively old for an opera production, and though I sense this may be its last revival, it is still modern and engaging.

Christian Thielemann’s repertoire is broader than is often made out, but not that much broader. At its heart are the four composers most associated with late Austro-Germanic Romanticism: Johannes Brahms, Richard Wagner, Richard Strauss, and Anton Bruckner.

“Der Sir”, they used to call him. The death of Sir Colin Davis has been a strikingly international event, and New York has been no exception. Over at Lincoln Center, Alan Gilbert and the New York Philharmonic opened their latest subscription run with “Nimrod” from Elgar’s Enigma Variations, a joint tribute to the British conductor and the people of Boston (another of Sir Colin’s haunts).

Whatever our relationship with music we often have moments in our lives where the thing we’ve always loved feels like little more than a habit, or worse still a chore. You go to a concert and sit through it, and you know in your head that the orchestra played well and that the soloists were excellent, but your heart remains unmoved.

Dating from 2008, the Semperoper’s current production of Rigoletto is quite intriguing. It’s set in what appears to be a swanky 21st-century Berlin apartment – industrial, sparse and effortlessly cool – and in many ways this is an interesting choice.

Puccini is one of opera’s best loved composers. With so many popular titles to his name, it is somewhat surprising how infrequently his first great success, Manon Lescaut, is performed today. What makes this even more unusual is the opera’s universal appeal.

In the early years of the 20th century Puccini was a very happy man. His most recent opera, Tosca, was proving as successful as La Bohème, and the lucky composer was being summoned to opera houses throughout Europe for its premières. In the summer of 1900 Puccini attended the première performance of Tosca in London, and soaked in the atmosphere of Europe’s largest city.

Mozart wrote 20 operas during his relatively short life, the first being performed in Salzburg in 1767, when the composer was just eleven years old. However, it is Idomeneo, written and premièred when Mozart was the ripe old age of 25, which is usually considered to be his first mature opera.The opera takes place on the island of Crete immediately after the Trojan War.

The Staatskapelle Dresden is widely recognised as one of the best orchestras in the world, featuring in tenth place in Gramophone magazine’s 2008 article ranking the world’s 20 finest orchestras. This season the orchestra welcomes Christian Thielemann as its new main conductor, and this concert began his much anticipated Brahms cycle with his new orchestra.