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

Sir Simon Rattle visita la Philharmonie de Berlín y se pone al frente de la Filarmónica con obras del catalán Roberto Gerhard y de Antonín Dvořák.

La London Symphony Orchestra y el Orfeó Català bajo la dirección de Sir Simon Rattle unen fuerzas para interpretar el oratorio de Beethoven Cristo en el Monte de los Olivos, una obra interesantísima y poco programada.

La exultante conclusión de Harmonielehre alcanzó tal impacto sonoro y estético, que rompió las barreras arquitectónicas del Palacio de Festivales.

La London Symphony Orchestra con su director, Sir Simon Rattle, presentaron en el Festival de Santander un ecléctico programa que brilló por su perfección técnica y sinceridad.

El segundo concierto de Sir Simon Rattle y la London Symphony en el Festival de Santander estuvo conformado por un programa fuertemente vinculado con la velada previa. Mahler, Dvorak y Janacek son tres compositores cuyas fechas y localidades de nacimiento están respectivamente separadas en el tiempo y en la distancia por menos de dos décadas y 300 kilómetros.

El Festival de Santander, en el contexto de una programación diversa, sabiamente diseñada y llena de alicientes de primer orden, ha ofrecido al público español la oportunidad de lujo de disfrutar de la presencia de Sir Simon Rattle y la London Symphony Orchestra con dos programas que serán recordados largo tiempo en su historia.

La interpretación de Rattle cobró un relieve protagonista y fue ascendente, fraguando una tensión por acumulación -en ello se cifró su logro más encomiable- que se resolvería únicamente en el tramo postrero, a la manera de catarsis.

Sir Simon Rattle, al frente de la LSO, volcó toda la pasión que le profesa al compositor bohemio en una interpretación de la Sinfonía "Trágica" que quedará en la memoria como una de las mejores intepretaciones de la obra de Mahler en el Festival de Granada.

In the last of the LSO's Sydney concerts, Sir Simon Rattle's affinity with Bruckner's score results in a heartfelt performance of the Seventh Symphony.

The LSO opens its three-concert Sydney stay with a panoply of colours and virtuoso orchestral playing in a programme of Adams, Debussy and Ravel, under the masterful leadership of Sir Simon Rattle

Rarely does a concert entirely devoted to a big Mahler Symphony later acquire a second half, let alone one containing just twenty minutes of a cappella singing. 

Ein atemberaubendes Abonnementkonzert mit Sir Simon Rattle und der Staatskapelle Berlin.

Ein aufwühlender Opernabend, an dem vor allem in der Musik das grandiose Drama stattfand.

Magdalena Kožená provides a compelling case for two little-heard Martinů song cycles; Rattle and the Czech Phil are competent but not altogether convincing in Schumann.

A long stellar night of supremely assured singing and playing in Wagner's Siegfried, with the Bavarian Radio Symphony Orchestra and Sir Simon Rattle on top form.

Wagner-Gesang vom Feinsten und das BR-Symphonieorchester auf Opernkurs: am dritten Abend des Rings strahlten goldener Klang der Musiker und die Mienen überwältigter Zuhörer um die Wette.

En un week-end, l'orchestre londonien et son directeur musical ont parcouru un vaste et passionnant répertoire, aux allures de rétrospective de quarante ans de carrière du chef anglais.

Amanda Majeski reprises her peerless Kátya, but Katarina Dalayman's flint-like characterisation as Kabanicha strikes the most sparks.

Contemplation and reflection should ideally form a counterpoint to jollity and merry-making in the festive season: an object-lesson from Sir Simon Rattle and his supporting forces.

Sir Simon Rattle's “Stravinsky Journey” threads a string of miniatures to persuade the audience that there's more to Stravinsky than his three early Ballets Russes hits. 

Dans le Concerto de Robert Schumann, la pianiste britannique privilégie la tendresse et l'intimité aux élans et à la fébrilité. Le LSO rend ensuite justice à la mal-aimée Symphonie n° 3 de Rachmaninov.

The last conductor to have led such a superb account of Rachmaninov's Third Symphony was quite possibly its composer.

With fresh programming and superb performances, artists-in-residence Magdalena Kožená and Sir Simon Rattle add another dimension to the Czech Philharmonic season.

After their magnificent recent Sibelius Seventh, the LSO returns to the Finnish composer for a pair of tone poems, followed by Bruckner's Seventh. 

Conducting a programme of mostly 20th-century classics that could have come from his early glory days in Birmingham, Rattle was in his element.

En deux concerts aux programmes passionnants, le London Symphony Orchestra et son directeur musical ont montré l'étendue de leur talent et de leur générosité.

The massed ranks of the LSO, the London Symphony and CBSO Choruses, Dame Sarah Connolly and Louise Alder gather for a staggering Mahler 2 at the BBC Proms. 

Sir Simon Rattle conducts 80+ members of the LSO in the monumental Grande symphonie funèbre et triomphale in a site-specific performance inside – and outside – St Paul’s Cathedral.

Véritable Fête de la musique avant l'heure, le concert du London Symphony Orchestra a mis à l'honneur la faculté de la formation britannique à se transformer en ensemble de chambristes de premier ordre.

Expect the unexpected when Sir Simon Rattle conducts the LSO. There will always be something that works, and sharpens your musical sensibilities, and something that doesn't. Ligeti, Wagner and Jolas vie for attention with Brahms.

Sir Simon Rattle erkundet unbekannten Stücke und Lieder sowie Edelsteine aus späteren Schaffensperioden.

Problems of balance bedevilled a fine programme of some of Weill's most bitter, ironical works which improved substantially after the interval.

An unusual collection of five disparate shorter orchestral works made for a fascinating celebration of Sir Simon Rattle’s musical enthusiasms over his career.

Director Claus Guth's new production for the Staatsoper Berlin is a bit of a mixed bag but the evening succeeds more on its musical merits, with a splendid ensemble of singers and orchestra conducted by Sir Simon Rattle.

True to himself, Sir Simon Rattle and the LSO offered a mouth-watering programme of contrasts. The first half pointing clearly to the modern world worked better than the backward glance at a great Romantic symphony.

Designiert und bereits mitten im BRSO angekommen: Sir Simons bewegende Gestaltungskunst in Mahlers Opus ultimum.

L'Orchestre baroque de Fribourg dirigé par Sir Simon Rattle livre une interprétation formidable du chef-d'œuvre de Rameau, avec une distribution exceptionnelle jusque dans les importants rôles secondaires.

Hans Keller's mischievous essay on “Phoney Professions” lists  both viola players (“it’s just a big violin”) and conductors among its targets. This performance refuted that, as surely as it delighted everyone else.

Simon Rattle et le LSO proposent au public luxembourgeois une captivante écoute comparative des différentes versions de la Symphonie nº 4 d'Anton Bruckner. 

Sir Simon Rattle and the LSO open their 2021-22 season with an eclectic mix of British music that sees the orchestra at its most lustrous. 

Were we to celebrate a great artist fifty years after his death with three misbegotten attempts at a form he never understood?

L'opéra de Wagner fait l'objet d'une interprétation d'anthologie au Festival d'Aix-en-Provence... à écouter, seulement.

The Berlin Philharmonic, reunited with its former chief conductor Sir Simon Rattle, framed Britten’s Serenade, commandingly sung by tenor Andrew Staples, with two complementary sets of orchestral variations.

Rattle leads the London Symphony Orchestra on a journey to his adoptive country, without so much as a lateral flow test to hold them up.

Before the pandemic, it was easy to take concert-going for granted, that communal sharing of classical music. One day after the easing of lockdown, the London Symphony Orchestra returned to its Barbican home to play for an audience for the first time since 15th March 2020. 

Magdalena Kožená's excellence of tone and line in her first two songs did not prepare us for her profundity in Der Abschied.

The soprano seemed to be duetting with players as much as conducting them in Knoxville: Summer of 1915.

The Bavarian Radio Symphony Orchestra's new chief conductor revels in a flawless performance from his star players.

Zwischen Purcell und einer Uraufführung von Adámek: zwei Konzerte mit opulenter Programmfolge an einem Abend.