Find classical music concert, opera, ballet and dance reviews | Jakub Hrůša

The effervescent conductor took six little-known Czech works into another ether: one in which the footprints are invisible.

Pitch-perfect Bartók by Ibragimova and a boldly expansive reading of Shostakovich's Fifth by Hrůša made for an insightful evening's reflection on musical early modernity.

A Slavic treat from Jakub Hrůša and the Philharmonia saw an ebullient Dvořák's Eighth Symphony, a German-Hungarian-Czech combo, and Julian Rachlin an admirable last-minute stand-in in Tchaikovsky.

The increasingly effulgent conductor filtered Brahms’ tone through a chandelier of variously-shaped orchestral figures.

The program also included Martinů’s undeservedly neglected Parables and restrained, lyrical Brahms.

When the Boston Symphony audience embraces a conductor with sustained, enthusiastic applause as they did with Jakub Hrůša, making his debut, they are not only expressing their approval; they are saying you belong.

“Out of this wood do not desire to go!” Tytania orders Bottom. Glyndebourne's revival of Peter Hall's classic production of A Midsummer Night's Dream is eerily enchanting, weaving its spell right from the queasy double bass glissandos, which slither into Britten's score.

Melly Still returns to revive her 2012 staging at Glyndebourne, laying nature bare. Cartoonish, but never sentimental, it presents Vixen red in tooth and claw, 

A powerful and well-paced Mahler 3 from Jakub Hrůša and the Philharmonia, with heartfelt sadness and rich tone from Bernarda Fink.

It took Vienna State Opera almost 90 years to present Leos Janacek's Věc Makropulos, but in Peter Stein's production, it was worth the wait.

Jakub Hrůša proves to be a musician who can put his personal inspiring stamp on each music piece he conducts.

Anne-Sophie Mutter impresses Sydney in Dvořák and Beethoven, before a less magnetic “Eroica”. 

“The very incarnation of vice” was how one critic described Célestine Galli-Marié’s Carmen at the opera’s 1875 Opéra Comique première. That description could equally be applied to Stéphanie d’Oustrac in Glyndebourne’s revival of David McVicar’s terrific production.

In the third concert presentation of Mussorgsky's Boris Godunov in London this season, the Philharmonia's semi-staged attempt, conducted by Jakub Hrůša, was admirable. 

Dvořák's Violin Concerto featured Concertmaster William Preucil as soloist, and Ravel's orchestration of Pictures at an Exhibition rounded out the program.

Thanks to wild talent of soloist and conductor, a strikingly new take on some familiar work and a standout concert in Houston Symphony's season so far.

Szymanowksi’s thrilling Symphony no. 4 “Symphonie concertante” for piano and orchestra is the highlight of this Istanbul Music Festival programme from Sinfonia Varsovia and pianist Piotr Anderszewski. 

The last of the Philharmonia’s “Bohemian Legends” series paired an extremely familiar work – Dvořák’s Cello Concerto – with an extremely unfamiliar one: Josef Suk’s Asrael Symphony. In spite of some uneven orchestral playing, the concert showed off the best points of both works.

In a concert of two halves, the Philharmonia fail to convince with Suk and Dvořák but provide a thrilling rendition of Janáček's Glagolitic Mass, a choral work that is dramatic, operatic, giant in scale and unique in style.

As part of the short series of concerts curated by Jakub Hrůša, Bohemian Legends,focusing on Czech music from its golden era 1850 – 1950 and featuring three of its greatest masters (Dvořák, Janáček and Suk), the Philharmonia treated us to a collection of almost excessively rousing works.

Tonight’s concert opened with the warm string tones and broad, sweeping phrases of Janáček’s The Cunning Little Vixen Suite; the UK première of a little-known arrangement by František Jílek.

Last night’s program with the Sydney Symphony Orchestra was one of those to really get your teeth into, with substantial, complex works by Brahms and Rachmaninov, and only a short amount of respite provided by Dvořák. This was serious music in the form of the heavyweight Brahms Piano Concerto no. 1, which contains almost too much music to comprehend in one sitting.

Schumanns Violinkonzert ist ein Werk, dem ein Ehrenplatz unter den ganz großen Konzerten des 19. Jahrhunderts gebührt, das den Vergleich mit demjenigen von Brahms nicht zu scheuen braucht.

Der rein ungarische Konzertabend hatte mit einer engagierten Interpretation des Konzerts für Orchester von Zoltán Kodály begonnen und endete mit dem absoluten Highlight des Abends, dem großartigen Konzert für Orchester von Béla Bartók.

In Frankfurt war er mit Puccinis Il trittico dank einer musikalisch ausgefeilten und szenisch-psychologisch stimmigen Präsentation garantiert.

Albert Roussel disait de Bohuslav Martinů « ce sera mon chef-d'œuvre ». 

Un rush hour rutilant au Victoria Hall vendredi soir, dont le joyau fut certainement le hautbois somptueux d'Alexeï Ogrintchouk !

La production légendaire de Robert Carsen revient à l'Opéra de Paris, servie par un plateau soliste inégal. 

Un Stabat Mater de Dvorak puissant et noble servi par un choeur exceptionnel.