Marco Arturo Marelli's 2012 production lacks mystery but puts a fine Golaud centre stage, while Esa-Pekka Salonen ensures superior musical values in the pit.
Salonen and the Los Angeles Philharmonic, arguably the conductor and orchestra par excellence of Stravinsky performance, debuts the first of their three-concert series dedicated to the former Angeleno.
In the second of the two concerts this week to open the Philharmonia's season, Salonen excels in the Schoenberg, while leaving space for debate in the Bruckner.
For all its ambition, the première of Jesper Nordin’s Emerging from Currents and Waves at the Baltic Sea Festival consisted of little more than slick surfaces and displays of overload
This was a superbly assured performance in which Esa-Pekka Salonen marshalled his forces with a clear-sighted vision to carve out an account brimming with intensity, energy and commitment.
A night to remember in Antwerp as Salonen and the Philharmonia demonstrated once again that, in the right hands, familiar repertory can still prove compelling and even surprising.
Esa-Pekka Salonen's return to Walt Disney concert hall highlighted his gifts as composer and conductor alike and underscored how an orchestra can sound genuinely 21st century.
The celebrations 100 years of Finnish Independence move to the Royal Festival Hall, with an all-Sibelius programme and Esa-Pekka Salonen: the highlight is soloist Vilde Frang's playing of the Violin Concerto.
Esa-Pekka Salonen brought maturity and experience to a searing account of Mahler’s last completed symphony with the Philharmonia Orchestra on its best form.
What you will find in Mahler's Third is music which resonates with every part of your life. Esa-Pekka Salonen proves an indefatigable and sure-footed guide.
In its opening concert of the season, the Philharmonia gave two of Sibelius' symphonies with two modern pieces by a pair of Iceland's finest young composers, which made for rewarding listening.
A true audiovisual experience, Anders Hillborg's Aeterna, a collaboration with two Swedish film-makers, results in a compelling portrait of the fragility that underlies our relationship with our planet.
Peter Sellars's much-travelled staging of Stravinsky's Oedipus Rex provided a powerful opening for the 15th Baltic Sea Festival under the festival's artistic director Esa-Pekka Salonen.
Staggering performances from Esa-Pekka Salonen and Philharmonia in John Adams’s sonic journey, Naïve and Sentimental Music, and Marianne Crebassa exquisite in Ravel’s Shéhérazade.
Esa-Pekka Salonen’s Cello Concerto received a successful world première with Yo-Yo Ma and the Chicago Symphony, the composer conducting, richly complemented by works of Adams and Stravinsky.
Esa-Pekka Salonen’s colorful program included the first Chicago performance of John Adams’ Scheherazade.2 with dedicatee Leila Josefowicz, along with works of Debussy and Stravinsky.
Clear playing from Pierre-Laurent Aimard in the Emperor Concerto and a sense of the dramatic in Also sprach Zarathustra brought life to old warhorses, while a new concerto from Tansy Davies made waves.
Clarinetist Kari Kriikku sauntered through the aisles of both the orchestra and audience, spinning around in two complete 360s and surely dousing the flabbergasted listeners in the floor seating with saliva.
Listening to Esa-Pekka Salonen conduct the Philharmonia Orchestra brought back memories of his halcyon days with the Los Angeles Philharmonic when he summoned up Sibelius with a golden magician's wand, and Beethoven with a lapidarian's curiosity.
As Esa-Pekka Salonen resumes his Stravinsky series, he turns his attention to three underperformed works based on key figures of Greek mythology: Orpheus, Apollo and Persephone.
A wedding feast, a man in drag and an outwitted fox were unlikely accomplices in the second concert in the Philharmonia's series Stravinsky: Myths and Rituals.
In the first concert of their exciting series Stravinsky: Myth and Ritual celebrating the varied musical inspirations of this most iconic figure of 20th-century composers, the focus was on Rituals.
The late director Patrice Chereau's last work, Elektra, was brilliantly realized at the Met, with special credit to conductor Esa-Pekka Salonen and soprano Nina Stemme.
The combination of Esa-Pekka Salonen and the New York Philharmonic, in the first of three evenings devoted solely to Messiaen’s Turangalîla-Symphonie proved riveting and exhilarating.
As part of the New York Philharmonic’s CONTACT new music series at National Sawdust in Brooklyn, Esa-Pekka Salonen drew connections among Olivier Messiaen, two of his students (Pierre Boulez and George Benjamin) and one outlier (Oliver Knussen).
Great opera at the Los Angeles Philharmonic as Esa-Pekka Salonen conducted Debussy’s Pelléas et Mélisande as part of the City of Light, a retrospective that examines works seen in Paris during the first half of the 20th century.
