En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Concierto para violín, Op.15

Magistral y evocadora interpretación en una velada marcada por el refinado sonido del violinista James Ehnes acompañado por Sinfónica de Galicia.

Frente a la batuta de Josep Pons, la Orquesta y Coro Nacionales desplegaron una valiosa paleta de timbres y colores para recrear el imaginario de Debussy y Ravel y acompañar acertadamente al violinista Fumiaki Miura en el concierto de Britten.

Jurowski y la London Philarmonic Orchestra confrontan a un delicado Britten con un pasional y desbordado Mahler.

La Orquesta Nacional, bajo la batuta de su director asociado Juanjo Mena, interpretó dos sinfonías de Schubert, la Sexta y la Novena, y el Concierto para violín de Britten con la participación del canadiense James Ehnes.

Baiba Skride junto a la Bilbao Orkestra Sinfonikoa ofrecieron el Concierto de violín de Benjamin Britten en una interpretación llena de complicidad.

La Sinfónica de Galicia estrenaba en España Four Iberian Miniatures del compositor Francisco Coll, la violinista Chloë Hanslip se erigió en auténtica protagonista de la interpretación de esta obra ecléctica y dinámica. Hanslip continuó en el escenario con el concierto de Britten, para dar paso a otra obra llena también de desolación, la despedida sinfónica de Shostakovich.

Beautifully shaped, deeply felt interpretations of Britten and Sibelius plus a vibrant world premiere distinguish this Seattle Symphony program led by guest conductor Kazem Abdullah and featuring violinist Augustin Hadelich.

Thomas Søndergård make his Cleveland debut with the unabridged 1910 version of Stravinsky's score, while Britten’s Violin Concerto opened with an excellent Stefan Jackiw.

Stefan Jackiw makes Britten's Violin Concerto sing, but Thomas Søndergård's RSNO Rite of Spring is too well-behaved and David Fennessy's Riot Act is dull.

The American conductor led strong, characterful performances of Britten and Shostakovich that prompted some misgivings by their execution but made a powerful impression overall.

A dark trio of works focused around Benjamin Britten's Violin Concerto made for a compelling concert in Washington DC.

Finnegan Downie Dear oversees a decidedly conflicted concert of works by Beethoven, Britten and Cassandra Miller that veered between ravishing beauty and unsynchronised sloppiness. 

In these difficult times a reduced audience witnessed a concert of music that didn’t exactly offer much solace, but which possessed a powerful sense of loss and foreboding that seemed entirely timely. 

Vladimir Jurowski conducts Tchaikovsky, Britten and Scriabin viewed through Oliver Knussen's palette to open the London Philharmonic's 2019-20 season. 

The Orchestra of the Royal Academy of Music and The Julliard School, with Edward Gardner in an impressively ambitious programme, with tragic Britten from James Ehnes, and a remarkable UK premiere from Anna Thorvaldsdottir.

Lamsma is not a household name here in America but her deep sense of commitment may well make her one.

Fiery Prokofiev but lacklustre Britten with the National Orchestra of Belgium.

Under the baton of John Storgårds, Vilde Frang made her Cleveland Orchestra debut in Britten's Violin Concerto, with works of Antheil and Schumann rounding out a diverse selection.

Sakari Oramo und das BBCSO boten mit Vilde Frang als Solistin eine breite Palette an Werken, von Beethoven über Britten, hin zu Anna Clynes.

It was another evening staring into the abyss courtesy of the London Symphony Orchestra, with Britten's Violin Concerto paired with Mahler's Fifth Symphony.

Die Rotterdamer Philharmoniker unter Yannick Nézet-Séguin eröffneten ihre Konzertsaison mit Janine Jansen und einem beeindruckenden Abend mit Britten und Beethoven.

Gripping Sibelius and Britten open a further exploration of the mighty Finn with a compelling performance from violinist Simone Lamsma.

Eine besondere und interessante Werkauswahl erwartete mich an diesem Abend in der Laeiszhalle. Mit der 1. Symphonie von Edward Elgar die das NDR Elbphilharmonieorchester unter der Leitung des finnischen Dirigenten Sakari Oramo spielte. Für das Violinkonzert von Benjamin Britten kam die junge norwegische Geigerin Vilde Frang als Solistin hinzu.

 Intensivste Spannungsbögen von Ravel zu Vaughan Williams und Britten.

Glowing performances of Britten and Ravel by the Latvian violinist and her Estonian conductor.

The BBC Philharmonic brought us a fascinating programme of intriguingly juxtaposed perspectives from the old world and the new, before a heartfelt return to the European tradition.

Substituting on short notice, Simone Lamsma made a very strong impression in Benjamiin Britten's austere Violin Concerto.

RSNO, Søndergård and Frang perform a thoughtful programme of dislocation and migration: Dean, Britten and Dvořák.

Nelsons impresses in Brahms' Third Symphony with the CBSO, while Isabelle Faust's account of Britten's Violin Concerto may have been a work in progress rather than the finished item.

If there were a Nobel Prize for violin, I would nominate James Ehnes. His playing of Britten’s Violin Concerto with the Toronto Symphony was drenched with emotions – pathos, irony, lamentation, sarcasm, tenderness and bliss – displayed and at the same time bounded by the discipline of his virtuosity, that like a diamond, radiated brilliance without attracting attention to itself.

Thursday’s concert with the Oslo Philharmonic might not have featured the most exciting programme, dominated by what one might call the less exciting (but no less beautiful) parts of Eastern European Romanticism, although it still provided ample opportunity for engaging music-making. The remainder, however, proved to be some of the most exciting music I’d heard in quite a while.

Tonight’s Orchestre de Paris Prom was very much a concert of two halves, in the first of which they got to show their sensitive, introspective side, reflecting on the nature of life and lamenting too-early death, then becoming considerably more extrovert in the second for some free-spirited buccaneering, and what the programme notes describe as “vivid, prolonged and grand noise”.

Just a few weeks after the announcement that Oxford would be hosting the UK’s first major Stradivari exhibition this June, Maxim Vengerov gave a phenomenal performance on one of the Italian craftsman’s instruments. Performing on the ex-Kreutzer instrument made in 1727, Vengerov’s performance with the Oxford Philomusica was unforgettable.