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.
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.
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.
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.
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.
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,
“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.
Brillante Solisten in Konzerten von Copland und Martinů sind die symphonischen Erzähler eines abwechslungsreichen Konzertabends der Bamberger Symphoniker unter Leitung von Jakub Hrůša
À la Philharmonie, l'Orchestre de Paris invite Jakub Hrůša à la direction, le violoniste Renaud Capuçon et la mezzo-soprano Stéphanie d'Oustac pour un programme riche et varié.
Pizzicatos justos y empastados, adecuado dominio del movimiento dinámico desde el golpe de arco, liderazgo de maderas, afinación exacta y balance logrado del colorido orquestal son algunas de las virtudes que conforman el racimo desplegado por el director checo y la Bamberger.
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.
