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

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.

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.

Although Damiano Michieletto's new production resembles an expensive drama workshop, it’s the marvellous performances that make this such a moving Jenůfa.

One of those performances when the sheer physical beauty of the instruments and the sounds they were making became the organic nature of the music itself.

A programme of great contrasts as the first concert is streamed since it was announced that Sir Simon Rattle will leave the LSO in 2023. 

Purity and clarity are hallmarks of Zimerman’s playing and there was an almost aristocratic composure to his phrasing in these splendid performances. 

Das Chamber Orchestra of Europe und Sir Simon Rattle verzaubern in der Philharmonie mit Beethoven und Haydn.

The LSO is reunited with its Music Director for the first time since lockdown for a moving performance from the Royal Albert Hall. 

Simon Rattle continues his European travels, returning to the Philharmonie im Gasteig for a fine programme with the outstanding Bavarian Radio Symphony Orchestra. 

As Europe’s concert-giving tentatively emerges from the coronavirus lockdown, Simon Rattle and the BRSO celebrate its rebirth with a sublime pairing of Vaughan Williams and Mozart.

Alban Bergs Zwölftonmusik trifft auf Ludwig van Beethovens klassische Strenge: Sir Simon Rattle wagt einen Vergleich.

Le London Symphony Orchestra et ses chœurs, dirigés par Simon Rattle, interprètent avec maestria Le Christ au mont des Oliviers de Beethoven. Dans Berg, la violoniste Lisa Batiashvili peine à incarner la partition.

With fabulous solo singing from Pavol Breslik and Elsa Dreisig, Beethoven's only oratorio Christ on the Mount of Olives turns out to be a gem. Sadly, the Berg Violin Concerto misses the mark.

Oppressed by the prospect of wall-to-wall LvB throughout 2020? Here was a joyous reminder of why we are celebrating.

The Met revives Robert Carsen's updated production of Der Rosenkavalier with a strong cast led by Camilla Nylund.  Sir Simon Rattle led the Met Orchestra in an inspired and detailed reading of the score.

In music by Janaček and Dvořák, Kožená seemed to just enjoy the freedom to perform in her native idiom. 

Ax, Rattle and the LSO make two weighty masterpieces feel airy, uncluttered and suitably uplifting.

A searing account of Messiaen's late orchestral behemoth. 

Walton's Belshazzar's Feast crowns a dynamic, daring programme from Sir Simon Rattle and the London Symphony Orchestra. 

Pour clôturer sa saison, la Philharmonie de Paris a réuni sur scène un casting idéal pour donner La Petite Renarde rusée de Janáček, mise en scène par Peter Sellars.

Messrs Rattle and Sellars bewitch the Barbican audience with a sumptuous rendition of Janáček's magnum opus. 

On the cusp of the Summer Solstice, Sir Simon Rattle, the LSO and suitable orchestral reinforcements celebrate the heritage of folk music and the attractions of rusticity.

Deutsche Oper Berlin's revival of Manon Lescaut achieves a rare theatrical success; a witty and visually stunning production combined with thrilling music making in the pit with Sir Simon Rattle leading the orchestra and singers with emotional urgency.

The London Symphony Orchestra excel in an intense evening of Britten and Mahler at the Barbican.

Another classic Rattle concert produced a very strong sense of occasion at the Barbican. Sir Simon is certainly making his mark on the London concert scene...

Sellars und Rattle schaffen einen Raum und Klang, der Bach mit seiner Deutung einer der bekanntesten Erzählungen der Welt lebendig werden lässt.

Challenging and vivid Bach in the first UK showing of Peter Sellars' staging of Bach's great liturgical masterpiece.

The most recent work by the elder statesman of contemporary music in Germany is given a performance in Berlin's Philharmonie.