En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Manfred Symphony in B minor, Op.58

Vasily Petrenko dirigió la Sinfónica de Galicia en un excelente concierto con una emocional Sinfonía Manfred de Chaikovsky y el Concierto de violín de Glazunov que, con Sergei Dogadin, desbordó musicalidad.

La Royal Philharmonic Orchestra, en su segunda velada en Madrid, y con Vasiliy Petrenko al frente, dio lo mejor de sí en la interpretación de la grandiosa Sinfonía Manfredo de Chaikovski.

En concierto fuera de temporada, la OFUNAM ofreció un programa de experencias sonoras contrastantes, cuyo atractivo principal fue la presencia del Trío Maisky.

There is little doubt that the combination of Vasily Petrenko and the RPO is currently yielding magnificent results. Daniel Müller-Schott joined them for a performance of Elgar's Cello Concerto.

Van Cliburn winner Yunchan Lim, in his concerto debut with the Tokyo Philharmonic, shares the stage with Mikhail Pletnev to give a suave performance of Beethoven's “Emperor” Concerto.

Alban Gerhard plays a melodious, but little known Cello Concerto by Anton Rubinstein. 

Taking a very different approach to programming for Valentine’s Day, Daniele Rustioni attracts a full-house to the Ulster Hall with Prokofiev and Tchaikovsky. Francesca Dego is outstanding in Shostakovich’s First Violin Concerto.

En ouverture d'un week-end consacré à Tchaïkovski à la Philharmonie de Paris, l'orchestre tchèque et son directeur musical ont délivré une remarquable interprétation de la symphonie à programme.

The distinctive sound of the orchestra that seems to encapsulate centuries of Central-European tradition – glowing violins, characterful winds and some of the most pregnant brass you can hear – bloomed in the marvellous acoustics of the Musikverein.

A sparkling if challenging first half of Haydn and Schnittke, splendidly delivered by the NDR Elbphilharmonie Orchester, but with shortcomings in the conductor's approach to Tchaikovsky's largest symphonic score.

 A lively, muscular account of Stravinsky's Violin Concerto by Norwegian violinist Vilde Frang while Măcelaru conducts a convincing Manfred Symphony by Tchaikovsky. 

Kirill Petrenko paid attention to details that many times get lost.

Xavier de Maistre gave a stunning performance of the Concierto de Aranjuez in the version for harp and orchestra, plus Ligeti and Tchaikovsky's ultra-Romantic Manfred in Belgrade.

Lesser known works by Rachmaninov and Tchaikovsky rubbed shoulders with a real rarity from Taneyev.

Katia and Marielle Labèque were memorable in Mozart’s Concerto for two pianos, K.365.

The Hong Kong Philharmonic's concert this weekend featured two long works by composers who were contemporaries and who struck up a friendship late in their career.

The young German-American violinist Augustin Hadelich plays the Tchaikovsky concerto and Vasily Petrenko with the LPO give a heroic rendering of the same composer's “Manfred” Symphony.

Cellist Jean-Guihen Queyras and the BSO capture the contrasting colours in French and Russian music. 

L’Auditorium de Lyon nous entraîne dans l’univers passionné de Tchaïkovski. L’Orchestre National de Lyon est dirigé pour l’occasion par Vladimir Fedosseïev, rejoint en première partie de soirée par Kirill Troussov au violon.

A dark, intense performance of Tchaikovsky's Manfred, the black sheep of his symphonic canon, is the highlight of Vladimir Ashkenazy's latest concert with the Philharmonia. 

Whilst tonight's performance of Tchaikovsky's Manfred Symphony was polished and highly accomplished, it was Prokofiev's Piano Concerto no. 2 that really quickened our pulses.

Single-composer programmes can be risky affairs. It is possible to have too much of a good thing, after all. Fortunately, this all-Tchaikovsky programme from the CBSO contained three sufficiently contrasting pieces, ensuring that we did not tire of the melancholic Russian master’s works.

Who knew glaciers were so musical? Arensky Glacier, named for the composer of this all-Russian programme’s opener, flows south from Beethoven Peninsula into the north end of the Antartic’s Boccherini Inlet. There is nothing chilly, however, about the 1894 Variations on a Theme of Tchaikovsky by Anton Arensky (1861–1906).

With the recent bout of Siberian weather in Montreal, last night’s evening of Russian music at the Maison Symphonique felt positively balmy. Under the baton of Russian conductor Gennadi Rozhdestvensky, and featuring his wife Viktoria Postnikova on piano, the OSM’s performance of two works by Piotr Ilyich Tchaikovsky brought a little warmth to our snow-frozen city.

All things Russian are the flavour of the month in Sydney at the moment. Last night, the Sydney Symphony Orchestra under chief conductor Vladimir Ashkenazy embarked upon a mini-series of three Russian concerts to end the year. Recently returned from their highly successful tour of China, the orchestra was in sparkling form and played with freshness and vitality all evening.

The risen Christ and a dramatic figure who resists the Christian promise of redemption make for odd conceptual bedfellows, not least of all in a Vienna Philharmonic programme which here saw Messiaen’s L’Ascension sandwiched between the Schumann and Tchaikovsky treatments of Byron’s Manfred.

Overshadowed by far better-known and more frequently performed companions in his oeuvre, Tchaikovsky’s Piano Concerto no. 2 in G and the Manfred Symphony have received their fair share of criticism. Their length and stylistic oddities require strong force of will to pull off in performance – some performers (such as pianist Alexander Siloti) have gone so far as to make their own amendments.

The anthems and service settings of Charles Villiers Stanford form part of the core repertory of Anglican choral music; from the grandest cathedrals to the smallest parish churches, it’s probably safe to say that on any given Sunday, you will find Stanford’s music being sung somewhere.

Thursday night’s concert with the London Philharmonic Orchestra paired well-loved Beethoven with lesser-known Tchaikovsky, for an interesting contrast of two great Romantics. For the second program of this season’s visit to Carnegie Hall, Vladimir Jurowski and the London Philharmonic opened with Beethoven’s “Emperor” Concerto, the last of his five concertos for piano.