Vladimir Jurowski led the LPO in a thoughtful and though-provoking concert that paired Beethoven's only full-length ballet, the joyous and energetic Die Geschöpfe des Prometheus with Stravinsky's cool and melancholy Orpheus.
Stuart Skelton and Sarah Connolly were the stars of the evening, lifting the performance to a new level in what Leonard Bernstein called Mahler’s “greatest symphony”.
Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works.
Trifonov's rock solid technique is applied with finesse to one of the world's most popular concerti; Stravinsky's Fairy's Kiss doesn't transfer well to the concert platform.
The London Philharmonic Orchestra, Vladimir Jurowski and the soloist Ray Chen offer the next instalment in a series showcasing the works of Stravinsky and their historical influences.
Rimsky-Korsakov literally wrote the book on orchestration. In this splendid LPO concert tracing Stravinsky’s music, Vladimir Jurowski focused on the composer’s debt to his friend and mentor.
The London Philharmonic Orchestra and their Principal Conductor Vladimir Jurowski open their new series "Changing Faces: Stravinsky's Journey" in grand imperial style.
In the last week, the LPO has been on a journey through the seasons. Tonight, it was mists and mellow fruitfulness, courtesy of rarities by Respighi and Marx.
Vladimir Jurowski and the London Philharmonic Orchestra brought romantic storms with Mozart's Piano Concerto no. 20 in D minor and Bruckner's Fifth to the Royal Festival Hall.
The London Philharmonic’s concert performance of Enescu’s Oedipe proves an extravagant but triumphant way to launch the orchestra’s new Royal Festival Hall season.
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.
A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.
Brett Dean treats Shakespeare's behemoth as a timeless story told in language that has become timeless; no effort is spared in elucidating and amplifying that story.
Few composers have made such a notable impact in setting the St Luke Passion narrative, and this impressive performance under an inspired Vladimir Jurowski made clear its relevance today.
The Grim Reaper swept the aisles of the Royal Festival Hall in Vladimir Jurowski's latest programme in the Southbank Centre’s “Belief and Beyond Belief” series which explores faith and spirituality.
Kancheli, Martinů and Vaughan Williams – all of whom have at various times been misunderstood or ignored – featured in this bold programme from Vladamir Jurowski and the LPO.
Despite a condescending commentary, a strong performance from Anja Kampe as Leonore made this concert staging of Fidelio at the Royal Festival Hall thoroughly enjoyable.
A firecracker performance by Vladimir Jurowski and the Rundfunk Sinfonieorchester Berlin giving urgency to music composed at a time that echoes our own.
Vladimir Jurowski and the LPO cut an unusual slice of Russian music, with energetic performances of five works from four composers and Steven Isserlis outstanding in Prokofiev's Cello Concerto.
As the first non-Russian orchestra to tackle a complete Semyon Kotko, the Netherlands Radio Philharmonic gave a tension-propelled performance under the inspired leadership of Vladimir Jurowski.
One repressed, one who struggled, and one who got away: Jurowski, Andsnes and the Russian State Symphony delight with varied programme of Russian composers at the Konzerthaus.
Young French pianist Lucas Debargue and the Russian soprano Sofia Fomina join the LPO and Vladimir Jurowski for a programme of Haydn, Mozart and Mahler.
A fine account of Bruckner's Fourth Symphony was let down by the choice of the original version of the score, whilst Beethoven's Piano Concerto no. 1 saw some idiosyncratic playing.
A dream come true - Nicola Benedetti, Vladimir Jurowski and the LPO find every corner of a bold programme of Debussy, Szymanowski and Bartok to open their new season at the RFH.
Democracy and collectivism were hard at work as Jurowski’s decidedly undictatorial style fostered a strong on-stage community amongst the London Philharmonic Orchestra and Choir, who ultimately conjured Elysium itself.
Swiss composer Michael Jarrell was the subject of a composer portrait given by the Ensemble United Berlin under their Artistic Advisor and long-time conductor Vladimir Jurowski.
Jurowski is a wonderful conductor to watch. He carves shapes through his bearing and gesture cleanly, and his indications are crisp and defined - yet he retains poetic fluidity through his hands at all times.
“If music be the food of love, play on, give me excess of it.” There was certainly plenty of Shakespeare-inspired music on the bill for the London Philharmonic Orchestra's celebration of The Bard.
Vladimir Jurowski built on the Cleveland Orchestra’s existing mastery of Debussy, along with a virtuosic performance by Jean-Efflam Bavouzet of Ravel’s G major piano concerto, and a recent work by Marc-André Dalbavie.
A full-sized LPO première a bewildering new mass setting by Alexander Raskatov that misses the mark and sits uneasily alongside Beethoven's great ode to nature.
Vladimir Jurowski and the London Philharmonic framed Leonidas Kavakos’s searching account of Sibelius’s Violin Concerto with the sensory pleasures of Scriabin.
Vladimir Jurowski andthe London Philharmonic Orchestra produced an intriguing programme with some rare Taneyev, invigorating Tchaikovsky and fresh Sibelius.
An austere yet emphatic Fidelio, focussed and detailed Schoenberg, followed by an affecting, powerfullly bleak Shostakovich Eighth Symphony from Jusrowski & the LPO.
Jurowski and the LPO delve into Rachmaninov rarities for the last instalment of their series of concerts Rachmaninov: Inside Out at the Royal Festival Hall.
Barrie Kosky's production of Schoenberg's unfinished masterpiece is brought to musical life by Vladimir Jurowski's intense and compelling interpretation.
A UK première, movements from a rarely performed Prokofiev ballet by Prokofiev and a revitalising performance of Petrushka demonstrates the LPO's bold programming.
Vladimir Jurowski is a wily programmer. Pairing a concert performance of Rachmaninov's The Miserly Knight with extracts from Das Rheingold seemed a shrewd move.
The Campaign for Real Mussorgsky has been fighting the good fight for decades. Here, Vladimir Jurowski and the Orchestra of the Age of Enlightenment went one step further… performing original versions of his scores on period instruments.
