A long four-movement concerto and a long symphonic work by two close musical friends, given by Pablo Heras-Casado, Francesco Piemontesi and the NDR Elbphilharmonie Orchester.
In an all-Mendelssohn programme, Pablo Heras-Casado led the orchestra in detailed and original interpretations, with a strong performance from soloist Isabelle Faust.
Love may well be a rebellious bird, but that's as nothing to maverick director Dmitri Tcherniakov, whose twisted staging for Festival d'Aix reimagines Bizet's opera as a radical therapy session.
Having received excellent reviews for his Mahler, Verdi, Wagner and Shostakovich, Pablo Heras-Casado decided to programme a composer he has loved since his youth: Claudio Monteverdi.
Alisa Weilerstein's intense, intimate, personal rendering of the Elgar Cello Concerto is the highlight of an otherwise lacklustre concert from Pablo Heras-Casado and the LSO.
The Orchestra of St. Luke's under Heras-Casado performed an intriguing program of early works by Stravinsky, Tchaikovsky, with a stirring account of Mendelssohn's Violin Concerto as a special treat in between.
Fire and ice. When the cool, steely tone of Joshua Bell ‘Huberman’ Stradivarius met the feverish impetuosity of Pablo Heras-Casado at the helm of the London Symphony Orchestra for the final leg of its International Violin Festival, it wasn’t always a case of opposites attracting.
The Teatro Real crowns his Britten cycle with a canonic War Requiem conducted by Pablo Heras-Casado and superbly sung by John Mark Aisnley and Jacques Imbrailo.
Mauricio Sotelo's world première based on El Público, a fascinating surrealist play by Federico García Lorca, mixed flamenco and tragedy to achieve a great night of opera.
The Met's revival of Carmen, with its rotating set, has a successful opening night with a strong cast, an insightful conductor, a superb orchestra and chorus, all working well as a team.
Sasha Waltz’s new production of Monteverdi’s Orfeo saw a fusion of sound and movement at the Muziektheater Amsterdam, with dancers and singers twining together almost indistinguishably.
The four pieces – all U.S. premières – created a portrait of Boulez minus Boulez, reminding me of a middle school art exercise in which we were asked to draw an egg without any white crayons.
Sunshine bursts forth as Pablo Heras-Casado conducts the Philharmonia Orchestra, featuring pianist Nikolai Lugansky, in a Sunday matinée concert of Beethoven and Mendelssohn at the Southbank Centre.
I thought it ironic to hear people saying that the Met’s recent production of Two Boys was already outdated because of its ten-year-old subject: Internet chatrooms.
When a conductor decides to lead a performance without a score, it really means two things. One is obvious: a deep and intimate familiarity with the music. Less obvious, though, is the implication of trust in the musicians of the ensemble. On Friday, young Spanish conductor Pablo Heras-Casado delivered a spectacular interpretation of Mendelssohn’s Symphony no.
The Los Angeles Philharmonic’s January 20 concert, the last in its “Focus on Eötvös” mini-residency, may as well have been called “Focus on Hungary.” The small, landlocked country, with barely over 9 million residents, has exerted – and continues to exert – a powerful influence on music.
The Mahler Chamber Orchestra presented a Russian program with a twist; “A Russian Flirt with Haydn”. All four works and three composers that graced the stage were influenced by Haydn, most obviously Schnittke and his Moz-Art à la Haydn. The music worked well together, though I would suspect that this is more due to the Russian background than Haydn’s influence.
Sergei Prokofiev’s Ouverture on Hebrew Themes is a 1919 work originally written for clarinet, string quartet and piano, although the composer himself orchestrated it in 1934.
The performance of four symphonies in one evening is a rare occurrence, and an interesting feat of programming. The BBC Philharmonic explored the development of the symphonic form from the succint, formal classicism of Haydn and Mozart to the broad romanticism of Brahms, via Prokofiev’s witty take on the classical form.
The New York based Mostly Mozart Festival is easily overshadowed by Tanglewood Summer Season at the same time in Massachusetts, but it would be careless to underestimate its quality. The programme on August 5th, 2011 banished any doubt about its ability to live up to world standards.Conductor for the evening was Spaniard Pablo Heras-Casado.
Calixto Bieito, fiel a su estilo y tradición, se entrega a mostrar la caída en desgracia de la protagonista de Die Soldaten del modo más directo y descarnado posible.
El segundo oratorio de Mendelssohn es tan fundamental como lamentablemente infrecuente en las salas de concierto, en parte debido a las proporciones monumentales de la obra. Que semejante envergadura, afortunadamente, no está radicada tan solo en el número de efectivos que la ejecutan, permea cada pentagrama de la obra fue la principal conclusión que cabe extraer del concierto liderado por Heras-Casado.
La escala madrileña de la gira comandada por Perianes y Heras-Casado auspició una iluminación polisémica. No se trató únicamente de redescubrir y pensar las “zonas oscuras” de la historiografía musical, sino que también, y en ello radica lo primordial, el ejercicio constituyó un fin en sí mismo.
Camilla Tilling eröffnete mit einer maßstabsetzenden Interpretation von Dutilleux' Correspondances, danach überzeugte das Tonhalle-Orchester unter Pablo Heras-Casado mit einer orchestralen Spitzenleistung.
El CNDM, en el marco del ciclo conmemorativo #Monteverdi 4.5.0., ha programado la Selva morale e spiritualea través de 3 sesiones. Para afrontar tamaña empresa la erudición historicista es siempre consejera adecuada y la ocasión ha logrado convocar oficiantes de semejante impronta: Balthasar-Neumann Chor & Ensemble y la dirección de Pablo Heras-Casado.
Pablo Heras-Casado se presentó en el Festival de Granada al frente de la Philharmonia Orchestra. A través de un sugerente programa de autores rusos y junto a la violinista Esther Yoo, director y orquesta ofrecieron una vibrante noche llena de virtuosismo, frescura y emoción.
El director Heras-Casado al frente de la OSM ofreció una interesante versión de la Novena sinfonía de Beethoven que destilaba fuerza, pero con un sonido compacto y controlado en todo momento, la lectura de Heras-Casado invitaba a la reflexión en este periodo tan especial del año.
La Fura ofrece en este Holandés un espectáculo mayúsculo, de una superficialidad inteligente, acompañado por un elenco solvente y un foso con escaso sentido narrativo.
Zum Auftakt von „Klassik am Odeonsplatz“ luden Julia Fischer und das Symphonieorchester des Bayerischen Rundfunks unter der Leitung von Pablo Heras-Casado zu einem Kurztrip nach Spanien ein
