En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Capricho español, Op.34

La directora Jiajing Lai en claro diálogo con la OFUNAM ofreció una visión fresca de un repertorio bien conocido.

Gergiev y la Orquesta del Teatro Mariinsky reviven de manera excelsa el vínculo entre la gran tradición musical rusa y el folclore español durante su primera intervención en el Festival de Granada. 

La Filarmónica de la Ciudad de México nos convocó al concierto Canciones de Wesendonck. Como el título lo revela, esta obra de Wagner fue el número central, y estuvo muy bien enmarcada por el Capricho español de Rimsky-Korsakov y Muerte y transfiguración de Richard Strauss: interesante programa con un cuidado guion dramático que fue de lo festivo a lo contemplativo.

Die Münchner Philharmoniker und das BRSO schließen ihre Corona-Saison mit Klassik am Odeonsplatz ab. In kleinerem Rahmen als sonst, dafür jedoch mit einem Feuerwerk an Klangfarben.

Stanislav Kochanovsky, Nikolai Lugansky and the Belgian National Orchestra impress with an all-Russian triple bill.

When a hurricane floods your symphony hall, and you have to scrap and replace programs according to new venues and limited rehearsal time – all with an aim to soothe a city in distress – what do you play?

An late evening of shorter works from the Chineke! Orchestra provided a varied and exciting programme from baroque works to a world première.

Guest Conductor Peter Oundjian led outstanding interpretations of three familiar pieces by Rimsky-Korsakov, Haydn and Bartók.

The CBSO shines in a programme of big, energetic music and tender emotions.

To celebrate another landmark season, San Diego Symphony Music Director Jahja Ling brought forth a multifaceted program featuring star Chinese pianist Yuja Wang.

Sunday night is fiesta night, or so it seemed at the Barbican, where the London Symphony took us on a whirlwind tour from Seville in Andalucia to the Asturias. 

As the audience assembled in Roy Thomson Hall on Wednesday, nothing seemed out of the ordinary. Members of the orchestra were taking their seats on the stage, getting ready to tune their instruments. However, anyone paying close attention to the setting would have seen a fixture hanging high above the stage.

The Israel Philharmonic Orchestra knew the difficulties they would face. Accordingly, they kept the proportions of this programme modest out of pragmatism rather than an expectation for encores, as richly deserved as they would have been.