The Chamber Orchestra of Europe under conductor Bernard Haitink dazzled the Lucerne Festival audience with a programme of works by Mendelssohn and Schubert.
Those concertgoers who tore themselves away from the beach could watch the glorious sunlight fade to dusk through the Bantry House Library's huge windows.
The gut strings and period bows of the Chiaroscuro Quartet cast dramatic light and shade movements on from Bach's The Art of Fugue and quartets by Fanny and Felix Mendelssohn.
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.
Alina Ibragimova plays with skill but insufficient sound to fill the Royal Albert Hall; Vladimir Jurowski and the LPO blow the roof off with Shostakovich's account of the Revolution of 1905.
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.
‘Dancing with the Orchestra’ was the last subscription concert of the Sydney Symphony Orchestra and two compositions with a focus on dance bookended Béla Bartók’s Violin Concerto no. 2.
Alina Ibragimove reigns supreme in Symphony Hall with Brahms' Violin Concerto as Ulster Orchestra srtuggle to find the depth of emotion Sibelius deserves in Symphony No 1
Alina Ibragimova with the Scottish Ensemble perform exuberant early teenage Mendelssohn, deeply spiritual Pärt and Vasks, politically lethal Hartmann and utterly thrilling Bach.
A packed audience congregated in Wigmore Hall’s temple to pay homage at a very special concert in which Martha Argerich joined Stephen Kovacevich to mark his 75th birthday.
A colourful concert from the Bergen Philharmonic Orchestra and Andrew Litton, which included two world premières and the fourth Proms appearance of Russian violinist Alina Ibragimova.
Jeanette Sorrell and her Cleveland Baroque band Apollo’s Fire are renowned for their inventive programming and “A Night at Bach’s Coffeehouse”, with guest soloist Alina Ibragimova, deftly offered a balanced musical diet.
Modern vs Baroque violin? Vibrato vs non-vibrato? Listening to Alina Ibragimova’s performance in this year’s Late Night Bach Prom series, such simplistic distinctions seemed meaningless.
This a was breathtaking but not breathless concert by Alina Ibragimova, a brilliantly accomplished individual interpretation of three of Bach's solo partitas and sonatas for violin.
Violinist Alina Ibragimova captures both the virtuosity and poetry of the Sibelius concerto, while Juanjo Mena has a firm grasp of the architecture of Schoenberg's Pelleas and Melisande.
As birthday parties go, this was a damp squib. Alina Ibragimova and Cédric Tiberghien presented eight violin sonatas, of which five were from Mozart's childhood.
A series of three concerts over the course of one weekend, designed to reflect upon and champion the work of the Borletti-Buitoni Trust, which has supported a significant number of worthy performers in its first ten years, was always going to present an interesting range of repertoire – if not something of a conundrum for those planning the programming of the concerts.
Alina Ibragimova barely glanced up from her score during her Bach concerto with Britten Sinfonia last night, and the result was some of the most intense, beautiful music-making I can recall hearing.
Pleasantly enough, Britten Sinfonia went down a thoroughly unconventional route in celebrating their 20th birthday at the Barbican on Saturday, with a brilliantly varied range of new pieces mixing with chamber orchestra classics.
John Cage's unusual approach to composition is somewhat infamous. Thanks to his piano work 4'33" he's been firmly placed on the musical map as something of an oddball, and while that particular work may take his eccentric style to the extreme, the methods underlying his other works are equally intriguing.
St David’s Hall’s International Concert Series continued tonight, transporting the audience on a journey around Europe. This was the Orchestre National du Capitole de Toulouse’s debut performance in Cardiff, and their first tour of the UK.
Violinist Alina Ibragimova and pianist Cédric Tiberghien formed their duo partnership when they were both BBC New Generation Artists and have since been hailed as the up-and-coming duo, but Thursday’s recital at Wigmore Hall showed the amazing maturity of their partnership.
Following Alina Ibragimova’s recent residency in the medieval Library of Chetham’s School during the Manchester International Festival, her programme of some of the most complex solo violin works has now transferred for a short spell at Wilton’s Music Hall as part of the Barbican’s summer Blaze festival.
Shostakovich's 5th symphony is a work of great power, great variety and uncertain meaning. Written in 1937 when the composer was in fear for his life after Stalin's violent reaction to his opera Lady Macbeth of Mtsensk, there is no way of knowing for sure the extent to which the music is infused by irony or pain. If there was irony, Stalin didn't spot it.
Ganz ohne das noch immer weithin übliche, omnipräsente Vibrieren eröffnete das Chiaroscuro Quartett faszinierende Einblicke auf die wahren Inhalte der Musik.
Orchester und Solistin garantieren durch Expression und Artikulation für eine wunderbare Unterhaltung mit viel frischem Wind. Lediglich mit originärer Aufstellung wären noch mehr Effekte herausgekommen.
