Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Sinfonía núm. 29 en la mayor, K201 (K186a)

El manejo de los matices de Hansjörg Schellenberger y el violín de Gergana Gergova destacan en el concierto de Santa Cecilia de la OSM.

La Filarmónica Joven de Colombia, una de las dos jóvenes orquesta que tocaron en el festival "Bogotá es Mozart", demostraron buen estilo y garbo en el Teatro Colón

The orchestra closes its 25th anniversary season with a strong statement of accomplishment and ambition.

Mozart’s early youthful 29th Symphony felt rather misplaced in this otherwise solemn concert from Rafael Payare, Ulster Orchestra and the Belfast Philharmonic Choir. 

Ian Page's new ensemble kicked off with a feisty performance of Mozart's Symphony No. 29 and Sinfonia Concertante for Violin, Viola and Orchestra with two splendid arias sung by Louise Alder.

Vendredi à l'Opéra de Clermont-Ferrand, Alexandre Kantorow, fils bien né du célèbre violoniste et chef, n'a pas fait mentir la réputation qui le précède.

Alisa Weilerstein teams up with Pablo Heras-Casado and the SFS to deliver superb Schumann at the Davies Symphony Hall. 

It is a testament to Ma’s power as a musical force that, despite the typhoon-related weather raging outside, the auditorium was packed to capacity. 

Challenging musical norms and blurring the lines between genres, Manchester Camerata shows off its "restless ambition" at the RNCM.

Fazıl Say returns to the Heidelberger Frühling with a velvety Mozart and mesmerising original compositions.

Einmal mehr präsentierte Fazıl Say zusammen mit der Camerata Salzburg seine außergewöhnlichen Kompositionen wie auch seinen interpretatorischen Einfallsreichtum in Mozarts Klavierkonzert. 

Nested in the warmth of Cadogan Hall, Camerata Salzburg and Ben Gernon brought life to Mozart's eternal music whose multi-faceted joy carried in its wake the British violinist Nicola Benedetti.

The title of the latest Sydney Symphony Orchestra concert was simply “Organ Symphony”, referring to the work which was to form the second half of the evening’s concert – Saint-Saëns’ “Organ Symphony” in C minor.

The program was dubbed “Romance at the Phil”, but the music presented was hardly the sort to set lovers’ hearts aflame. It could even said to be a touch staid. There was Mendelssohn and Mozart in the first half. Richard Strauss is closer to the mark – this is the composer of Salome, after all – but it was his jovial Don Quixote that closed out the night.