Live, Video: Find classical music concert, opera, ballet and dance reviews | Andrés Orozco-Estrada

Cologne reopens its opera house after a 14-year refurbishment, but their new Rosenkavalier sells the performers and the occasion short.

Vivid, full-bodied Tchaikovsky, passionate without losing its grammar, on a persuasive night for the KBS Symphony Orchestra.

The program features Maria Dueñas in Korngold's Violin Concerto and a moving tribute to LA native Michael Tilson Thomas

By the close of the performance, one sensed that the audience’s exhilaration stemmed less from polished execution and more from a shared immersion in the music’s dramatic arc—elements that lingered as the defining memory of this eventful evening.

The Ukrainian director's “revisioning” of Beethoven's only opera plunges it into an incoherent underworld in Amsterdam.

A Colombian conductor and French cellist shine in a crowd-pleasing program ranging from Haydn to Bartók.

A good, mostly Italian cast brings alive one of the most famous productions by the great director Giorgio Strehler, under the baton of Andrés Orozco-Estrada.

Andrés Orozco-Estrada and the Filarmonica della Scalla boldly go into the Romantic repertoire, with mixed results.

The soprano is lifted to lyrical heights by the Filarmonia della Scala and Andrés Orozco-Estrada at the open air Wolkenturm on the final night of the festival. 

Partnering Augustin Hadelich in the Sibelius Violin Concerto and directing two works by Mendelssohn, Andrés Orozco-Estrada doesn't quite temper acoustic problems associated with the ecclesiastical venue.

The radio symphony orchestras based in the individual federal states are some of Germany's musical jewels. Here, Andrés Orozco-Estrada and his Frankfurt musicians together with tenor Christian Elsner demonstrate their mettle.

It can’t be easy for conductor Andrés Orozco-Estrada to have to play second fiddle to senior maestros on the Vienna Philharmonic’s tour.

After London's farewell to Bernard Haitink the evening before, Andrés Orozco-Estrada had a tough act to follow with the Vienna Philharmonic. We needn't have worried. 

Nadine Sierra's Gilda is the highlight of Michael Sher's polished production, which doesn't quite tug at the heartstrings.

Chen plays a fine solo part in Bruch and delights with his encore; Orozco-Estrada and the LPO provide some good moments but fall short of their best form.

Andrés Orozco-Estrada and the LPO offer an eclectic and unusual mix of works which, despite commendable playing, never quite added up to a satisfying whole.

In a failed mash-up, the Houston Symphony performed only the first movement (the three-minute “Prelude: Maestoso”) of Ives’ Fourth Symphony and continued attacca into the 80 minutes of Mahler's "Resurrection."

A quartet of superb soloists shine through an orchestral and choral performance of great precision to bring out Verdi’s powerful evocation of the terror of eternal damnation.

An intelligently planned and generous programme featuring the London Philharmonic Orchestra, Andrés Orozco-Estrada and Peter Donohoe in two neo-classical works by Stravinsky paired with two German Romantic works.

The Tonhalle Orchestra Zürich recently nestled a performance by the gifted American violinist Hilary Hahn into its programme of works by Janáček, Prokofiev and Dvořák.

Andrés Orozco-Estrada conducts the LPO in a dramatic programme of Beethoven’s Emperor concerto and Showtakovich’s Leningrad symphony

Rachmaninov had a strange fascination with the Dies irae chant. For last night’s concert, Andrés Orozco-Estrada prefaced the Symphonic Dances with a rendition of this Gregorian Chant.

When a hurricane floods your symphony hall, and you have to scrap and replace programs according to new venues and limited rehearsal time – all with an aim to soothe a city in distress – what do you play?

Leif Ove Andsnes is supremely eloquent in Rachmaninov’s Fourth, but Strauss's Macbeth looks set to remain on the fringes. 

A quartet of American composers drew some notable performances from the London Philharmonic Orchestra as part of the Southbank Centre’s Belief and Beyond Belief series. 

While passion, supreme technical mastery, and inspiration all come to mind watching a celebrity like Ma perform, camaraderie, perhaps, is the best word for this concert.

In the year of the composer's 70th birthday, Adams’ Doctor Atomic Symphony had everyone sitting up straighter. 

The Colombian conductor leads the London Philharmonic in an evening of Weber, Bruch and Beethoven where classical discipline comes out on top.

The London Philharmonic Orchestra under Andrés Orozco-Estrada explore Romanticism in Weber and Rachmaninov, with Juian Bliss providing a classical contrast in Mozart's clarinet concerto.

Fluidity defines Daniil Trifonov's style, even while he navigates different realities.

Mixed results in Andrés Orozco-Estrada’s weighty program of Kodály, Ives, and Strauss alongside the Sibelius Violin Concerto with Baiba Skride. 

Houston Symphony’s Creation was not pristine, but it caught the emotion overall so well that perhaps the out-of-place details don’t matter.

It’s curious to program an opening night with second-fiddle work; at least I thought so until this Strauss.

Kirill Gerstein displayed not just virtuosity in Rachmaninov’s Piano Concerto no. 1, but a beautiful sense of musical line.

The Bard met with boisterous performances in the LPO's latest instalment of Shakespeare400, but Khachaturian's Violin Concerto emerged with much subtlety.

As long as the beginning and the end of a performance come together, will anyone remember the grievances in between? 

The LPO’s new principal guest conductor Andrés Orozco-Estrada makes his presence felt with a pair of Romantic masterpieces.

More than today’s expert on Brahms, Ax promotes a revolutionary approach to the soloist persona: the soloist who is a chamber musician first and a diva second. 

It is odd to pair a seven-minute world première with a 72-minute Mahler Symphony, but there is so much life packed in to John Corigliano’s STOMP for Orchestra, that the two halves of Houston Symphony Orchestra’s concert felt surprisingly well balanced.

From the American national anthem to An American in Paris and back to New York City for West Side Story with Joshua Bell, Stravinksy’s Firebird stuck out as the most remarkable piece on the program.

Soprano Amber Wagner debuts with a flair that reminds us that Verdi's Requiem has dramatic roots.

A lively program with soloist Martin Fröst, in his HS debut, leaving a deep impression in Copland.

Who would have thought a program of water sprites and revolutions spanning 200 years could be so seamless? 

Houston Symphony's Andrés Orozco-Estrada brings remarkable intention to Mozart's sacred masterpiece. 

Alice Coote and Elizabeth Watts soar gloriously from the emotional heart of Mahler's Resurrection Symphony in a powerful performance from the LPO directed by Andrés Orozco-Estrada.

Jonathan Kent claims one of the great difficulties of Mozart-Da Ponte’s 1787 dramma giocoso is ‘the collision of an extraordinary variety of music and mood within it’

Eastern European folk rhythms and the spirit of fin de siècle Russia resonate through Basingstoke as the Vienna Tonkünstler Orchestra plays Kodály, Rachmaninov and Dvořák. 

Andrés Orozco-Estrada has been feted as “a brilliant stand-in”, having replaced a number of more well-known conductors at short notice in Vienna, where he studied his craft. He is now the music director of the Tonkünstler Orchestra in Vienna having made an all-important career breakthrough.The Colombian was no stand-in for this concert, however.

Mit Richard Strauss‘ Don Juan und Tschaikowskys Romeo und Julia dirigiert der kolumbianische Gastdirigent zwei kontrastierende Liebes-Kompositionen. Und die Cellistin Sol Gabetta setzt in Martinůs Erstem Cellokonzert auf Schönklang.