En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Sinfonía núm. 104 en re mayor "Londres"

The Academy of St Martin in the Fields give exciting performances at the Barbican, with idiosyncratic Mozart from Buniatishvili. 

Leslie Suganandarajah brings an evening of classical elegance with the Ulster Orchestra, while Michael Collins shines in a rarely performed concerto.

Who needs a conductor? The OAE under the direction of Matthew Truscott reveal the delightful range and character of Haydn, from his symphonic beginnings to the very end.

Three Haydn symphonies grace the bill in Järvi's onging project which started in earnest last year in Vienna.

Ligeti's Concert Românesc gets a well characterised reading, but Gardiner's Bartók and Haydn come off less well at LSO St Luke's.

After its Covid-19 “Quarantine soirées”, the Budapest Festival Orchestra celebrates the end of lockdown by taking on a two-concert international tour!

The LMO deliver a lively account of Prokofiev’s “Classical” Symphony and Haydn’s last symphony while Shelley shines in Mozart’s Piano concerto no. 25.

Die Bamberger Symphoniker musizieren voll schwärmerischer Begeisterung mit ihrem Ehrendirigenten.

Au Théâtre des Champs-Élysées, Lahav Shani dirige brillamment son Orchestre philharmonique de Rotterdam. Dans le Concerto n° 4 de Rachmaninov, Freire a les doigts d'un jeune homme.

Im Festspielkonzert der Camerata Salzburg fasziniert ein altersjunger Roger Norrington mit der Überzeugungskraft klangreinen Musizierens.

Le Jeune Orchestre de l'Abbaye aux Dames s'est emparé à bras le corps d'un programme consacré à Mozart et Haydn. Malgré quelques accidents de parcours, l'enthousiasme des instrumentistes a su emporter l'adhésion du public.

An imaginative pairing of London symphonies find the BBC Scottish Symphony Orchestra in good form. 

La Maison Symphonique de Montréal accueillait mardi le pianiste Marc-André Hamelin et l’Orchestre Symphonique de Montréal, sous la baguette de Kent Nagano, pour un concert intitulé « Haydn & Reich ». Au programme : Eight Lines de Reich, le Concerto en sol de Ravel et la Symphonie n° 104 de Haydn.

Singulier duel que celui proposé par l’Orchestre National de Lyon : Pierre-Laurent Aimard rencontrait le violoniste baroque et chef Riccardo Minasi dans un programme articulant autour du Quatrième Concerto de Beethoven la première et la dernière des symphonies de Haydn. 

The Bournemouth Symphony Orchestra returned once again to the Colston Hall to perform three very different works. Steven Isserlis headlined the evening with a fantastic rendition of Shostakovich’s Cello Concerto no. 1.

Die Capella Augustina spielte präzise und mit großer Hingabe; Spering wählte neben passenden Tempi eine geladene Interpretation, lautstark und wuchtig.

A mesmerising harmony on stage made a lasting impression in one of Andris Nelsons's last Birmingham concerts.

Sunday afternoon in the Perleman Theater, harpist Catherine Michel joined the Chamber Orchestra of Philadelphia for the world première of Michel Legrand’s Harp Concerto. The winner of three Oscars, five Grammys, and heaps of other awards, Legrand is certainly one of the most influential and prolific composers living today.

Any orchestral endeavor in Cleveland stands in the looming shadow of The Cleveland Orchestra, not just in an artistic sense, but also, in a relatively small city such as Cleveland, in a competition for audience. Various previous chamber orchestras have fallen to the exigencies of financing such a venture.

Sir Mark Elder conducted the Hallé in fine performances of Haydn’s final symphony, no. 104, and Mahler’s most humble, no. 4.There is a neat symmetry in pairing Haydn with Mahler symphonies, respectively viewed as the grandfather and zenith of the genre. There was further interest in coupling Haydn’s very last symphony with Mahler’s most classical, conceived almost a hundred years later.

It was in the 1790s, when Haydn came to England at the invitation of London-based impresario Johann Peter Salomon, that the twelve 'London' symphonies were composed. They were to be Haydn's last essays in the genre, examples in which, he said, he had to 'change many things for the English public'.

The night had a programme of three soloists, three pieces and three significant composers in music history – Haydn, Mozart and Beethoven. The concept of the concert was to display a span of music from the high Classical era to the early Romantic, where each of the composers overlap in style through three generations.

Standing ovation after standing ovation. The packed hall at St George’s received a treat in form of an evening of Haydn played by fantastic musicians. The stage was filled with energy from start to end in a programme, from the Oxford Philomusica’s ‘Best of Haydn’ series, which displayed a variety of Joseph Haydn’s works.