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

The Czech Philharmonic, in tremendous form, still play their core repertoire with unaffected naturalness.

Mahler's Second Symphony receives an unforgettably committed and detail-rich performance at the Royal Festival Hall.

Stylish Mozart and volcanic Beethoven from the Philharmonia orchestra and their principal guest conductor Jakub Hrůša.

A brilliant programming decision paired Adams’s 9/11 memorial with Mahler’s life-affirming Symphony no. 4, with the fine soprano Joelle Harvey as soloist.

Jakub Hrůša led The Cleveland Orchestra in the politically-fraught First Violin Concerto of Shostakovich along with a suitably majestic Beethoven Eroica.

To outwit death and attain immortality is a dream as old as human history. But isn’t it precisely the finite nature of life that makes it so precious?

The Bamberg Symphony Orchestra bring a wonderfully bucolic programme of Czech music to The Proms.

An outstanding account of Smetana's Ma vlást in Hamburg's Elbphilharmonie was prefaced by Straussian oboe nostalgia courtesy of Albrecht Mayer. 

Jakub Hrůša and Simon Trpčeski with the New York Philharmonic Orchestra impress at Lincoln Center with a programme of works from Central and Eastern Europe. 

After blazing new trails abroad, the Czech Philhamonic keeps its hometown fans happy with a rousing return to form.

The Tonhalle Orchestra Zürich recently struck a perfect balance of emotive and restraint in music by Brahms, Bartók and Saint-Saëns.

Dvořák’s Slavonic Dances were a treat and Simon Trpčeski was characteristically glistening in Shostakovich, but the surprise package turned out to be a rarely heard work by Kabeláč.

Jakub Hrůša returned to Cleveland to conduct a rarity by Kabeláč and a warhorse by Shostakovich while joining forces with Emanuel Ax for an interlude of Stravinsky.

Hrůša and the Bamberg Symphony produce Brahms of glorious warmth; Hans Abrahamsen's Let me tell you displays Barbara Hannigan at her most virtuosic.

Jakub Hrůša leads a brilliant performace of Dvořák’s Requiem, but it doesn't completely dispel doubts about the work.

Brilliant staging, superb acting, a magnetic performance from Virginie Verrez and an excellent orchestral performance make a strong case for Samuel Barber's all-but-forgotten chiller.

Suk's five-movement "dance of death" gets a rare Cleveland outing under guest conductor Jakub Hrůša after Sergey Khachatryan performed Brahms' Violin Concerto.

An unusual programme at the Musikverein, drawing together works by Mendelssohn, Brahms and a piano concerto by Britten. 

How do you prepare a new production at a major opera house, then stroll across the Thames to lead a fine and distinctive Mahler Five? 

Interesting ideas and a brilliant orchestral performance aren't enough to overcome a visually dull staging, predictable choreography and a lack of chemistry between the protagonists.

Christian Gerhaher’s experience in a role he knows well rescued an evening of mitigated pleasures.

Bereft of its guiding light, the orchestra shows resiliency and promise with a familiar face at the podium.

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.

Expresivo concierto de Saint-Saëns interpretado por Sol Gabetta y una enérgica Séptima sinfonía de Dvořák dirigida por Jakub Hrůša.

Julia Fischer aborda brillantemente el injustamente poco interpretado Concierto de violín de Dvořák.

Jakub Hrůša, Hélène Grimaud und Kateřina Kněžíková entdecken Zwischentöne in großer Symphonik.

La Mahler Chamber Orchestra inaugura la 68 edición del Festival Internacional de Santander con Jakub Hrůša en la direccion.

Brillante Solisten in Konzerten von Copland und Martinů sind die symphonischen Erzähler eines abwechslungsreichen Konzertabends der Bamberger Symphoniker unter Leitung von Jakub Hrůša