En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Passacaglia, Op.1

Avec María Dueñas en invitée d'honneur, l'orchestre et son directeur musical ont proposé un concert en demi-teinte aux auditeurs de la Maison de la radio et de la musique.

Zubin Mehta, Siobhan Stagg and the players of the AWO were on top of their game in works by Webern, Debussy and Brahms, where the connections were as potent as the contrasts.

The Orchestra of the Age of Enlightenment's beautifully curated selection of Mann-themed music enjoys mixed success. 

Dans le ballet des chefs pressentis pour le poste de directeur musical de l'Orchestre de Paris, François-Xavier Roth a montré ses atouts dans Petrouchka.

Early works by Schoenberg and Webern filled out an austere program.

Stravinsky's Firebird leads a survey of the musical avant-garde at the outset of the modern era by François-Xavier Roth and the Boston Symphony.

Loin de se résumer à un pied-de-nez, cette prise de fonction est une réussite totale avant tout parce qu’elle prend à bras le corps la substantifique moelle de ses œuvres, parce qu’elle explore leur sensorialité sans jamais rien sacrifier de leur pureté ; parce qu’elle s’attelle à en dire avant tout les « voluptés », dira Krivine.

Bright and energetic Walton and a promising, highly lyrical Concerto from Watkins, followed by taut Webern and commanding Brahms from Søndergård and the BBC National Orchestra of Wales.

Jukka-Pekka Saraste était invité à diriger le Philharmonique de Radio France pour un programme exclusivement viennois : Anton Webern, Alban Berg et Johannes Brams. C'est surtout la quatrième symphonie de Brahms qui faisait l'intérêt de ce concert.

The BBC Symphony Orchestra and Christine Brewer close Wagner bicentenary celebrations at the Barbican by showing his influence on Strauss, Webern and Berg on December 20th.

François-Xavier Roth conducted the BBC National Orchestra of Wales in a varied programme of Mozart, Webern and Strauss, concluding with a powerful performance of Also Sprach Zarathustra at St David’s Hall in Cardiff.It was hard to spot a linking factor between the programmed works, but they seemed to complement each other nicely.

The Philadelphia Orchestra was visibly enjoying their evening at Carnegie Hall with Sir Simon Rattle, their frequent guest conductor who nearly became their music director. In a program of early modern classics and a perennial Beethoven favorite, energy and spirits were high and in good supply.

Following on from the Contemporary Chamber Works concert of the LSO Futures series, François-Xavier Roth was back less than an hour later with the Symphonic Sound Worlds programme. This formed the second part of his investigation into the nature of the orchestra, its traditional forms and generic makeup.

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.