En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Concerto funebre, for solo violin and string orchestra

La violoniste, également cheffe d’orchestre, metteuse en scène et performeuse pour l'occasion, a proposé un concert rare et précieux dans la belle église de Saanen.

Ein vielschichtiger Konzertabend mit dem Koninklijk Concertgebouworkest, der aktuelle Werke aus der Zeit um den zweiten Weltkrieg wirkungsvoll kombiniert.

It takes artistic invention and considerable courage to design a concert programme solely around tragic topics; yet the connecting link between the various items on the last subscription concert by the Australian Chamber Orchestra was – directly or indirectly – death and great composers’ reaction to it. The key of C minor invariably carries sombre overtones in the works of Wolfgang Amadeus Mozart.

Eine berührend-intensive Interpretation von Hartmanns Concerto funebre und eine vor allem in Chor und Soli sehr beeindruckende, dramatische Aufführung von Janáčeks Glagolitischer Messe in Originalsprache.

Alina Ibragimova with the Scottish Ensemble perform exuberant early teenage Mendelssohn, deeply spiritual Pärt and Vasks, politically lethal Hartmann and utterly thrilling Bach.

Wiener Festwochenzeit ist Experimentierzeit: das Experiment des doppelten Konzertabends gelingt.

Vladimir Jurowski put in a surprise appearance at the harpsichord at the start of this London Philharmonic Orchestra concert, which saw Leonidas Kavakos join the orchestra for concertos by Bach and Karl Amadeus Hartmann. But it was the Eroica that drew the strongest performance.

Even in a festival anchored around a handful of 20th-century composers touched by the presence of war – Benjamin Britten, Dmitri Shostakovich, Béla Bartók, Witold Lutosławski – the program on Thursday night with the Rundfunk-Sinfonieorchester Berlin and their chief conductor, Marek Janowski, was especially haunted by the memory of atrocity. It was a night of tough music with little reprieve.

There is, nowadays, no one way to play a Beethoven symphony – if indeed there ever was. Just as we today are exposed to the myriad methods of Sir John Eliot Gardiner, Christian Thielemann, Bernard Haitink, and Osmo Vänskä, the supposedly bad old days of the 1950s found space for the very different talents of Wilhelm Furtwängler, Otto Klemperer, Erich Kleiber, and Hermann Scherchen to rub shoulders