Find classical music concert, opera, ballet and dance reviews | Symphony no. 9 in C major, "The Great", D.944

Edo de Waart and the NZSO thrill with the old warhorse that is Schubert's ninth as much as in an insightful and exciting rendition of Salonen's Violin Concerto.

Andris Nelsons conducts his "other" orchestra in Boston in a classic program of Brahms and Schubert. 

Considered Mozart and volcanic Schubert in a Viennese programme at the Royal Festival Hall.

Nico Mulhy's great gift as an orchestrator and his ability to construct colorful and suggestive textures are evident in Liar, presented by the Philadelphia Orchestra together with Schubert and Mendelssohn.

The Ulster Orchestra present a programme of classical elegance and sunshine; Rustioni is joined by Francesca Dego in an exceptionally sophisticated performance of Mozart’s Violin Concerto no. 3. 

The Chamber Orchestra of Europe under conductor Bernard Haitink dazzled the Lucerne Festival audience with a programme of works by Mendelssohn and Schubert. 

A replacement conductor and soloists demonstrate brillance in Dvořák and Schubert in Edinburgh.

Royal Northern Sinfonia's popular Conductor Laureate Thomas Zehetmair makes a well-received return visit to Sage Gateshead, with symphonic music ranging from an exquisite jewel by Webern through to a fizzing performance of Schubert's "Great" Ninth.

Heinz Holliger conducted a fine interpretation of Schubert's Ninth, but it was Stephen Hough's performance of Mendelssohn’s Piano Concerto No. 1 that really made the evening.

Paarvo Järvi and the NHK Symphony give a riveting account of Schumann and Schubert.

Barenboim and the Staatskapelle Berlin offer a fascinating shift in approach as they tackle Schubert's last two symphonies at the Boulezsaal.

Soirée viennoise à la Filature de Mulhouse, en compagnie de Patrick Davin et du pianiste Rémi Geniet, pour le concert de clôture de la saison 2016/17.

Franz Welser-Möst conducts the Wiener Philharmoniker, an ensemble he knows very well, in two Romantic masterpieces that were not always considered as such.

Juanjo Mena and the BBC Philharmonic presented a rarely performed but colourful gem from Ginastera, an effervescent Britten Piano Concerto with Steven Osborne and a rather brisk Schubert symphony.

Smetana’s Bartered Bride overture set the stage for an intriguing new concerto by Richard Sortomme for two violas, followed by Schubert’s “Great” C major symphony.

Conductor Alexandre Bloch thrills in a diverse programme of Messiaen, Haydn, and Schubert. 

Dohnányi offers hugely satisfying interpretations of varied programme at the Southbank Centre with the Philharmonia and Carolin Widmann.

As musicians, conductor Bernard Haitink and pianist Maria João Pires have certain qualities in common – they both display a serenity, exquisite control and a dedicated yet no-nonsense attitude to performance.

Sally Matthews comes home to the South of England to give a beautifully delicate and heart-rending performance of Strauss’ Four Last Songs with the BSO.

San Diego’s Copley Symphony Hall resounded with the noble key of C major via Mozart and Schubert. 

A pleasant program of reliably joyful pieces, conducted by a true master.

Linked together by Bach's chorale “Es ist genug”, the Philharmonia performed Lindberg's enigmatic Chorale, Berg's Violin Concerto and Schubert's Symphony no. 9 in C major “Great”. After an underwhelming first half, some invigorating Schubert saved the day.

The Sydney Symphony Orchestra presented a versatile and truly international menu to its audience last week in a thrice-programmed concert titled “Heavenly Schubert” although it was Shostakovich who proved the strongest draw. 

Cellist Louisa Tuck and the Royal Northern Sinfonia, with guest conductor Paul Watkins, deliver a lyrical and coherent interpretation of Britten's complex Cello Symphony.

I often think you can tell the quality of an orchestra by looking at the back desks of its string sections, and the players on the fringes of the Royal Stockholm Philharmonic play with as much vigour as those at the front; their joy in the music is both visible and audible. The result is a strong and complex string sound, well blended, but with a coolness you don’t get from most German orchestras.

With a gleaming, glistening chord of purest A major, the man New Yorkers love to call “the Maestro” returned to the concert stage. His last public performance was a Die Walküre in May 2011, one that took its searing emotional power by maintaining the constant impression that it was about to disintegrate musically, just as Wotan’s worlds fell apart on stage and the conductor’s body buckled.

The Auckland Philharmonia and conductor Jun Märkl presented “Last Songs”, a programme of late works by Schubert, Richard Strauss and Zemlinsky. We opened with Zemlinsky’s Sinfonietta, a work much admired by Schoenberg and Berg. There is a spiky quality to the music that is reminiscent of Hindemith and Stravinsky, though notably less acerbic than either.

Chief conductor Juanjo Mena conducted a programme of energetic Beethoven and Schubert alongside an original reading of the Mozart Clarinet Concerto at Manchester’s Bridgewater Hall.Hearing little-played Beethoven is a rare treat in the concert hall, and Mena made a strong case for the great man’s Ritterballett (“Knight Ballet”) music.

Disney Hall’s week-long tribute to the music of Franz Schubert came to a grand close last Friday. Or should that be “Great?” As in Schubert’s hour-long Symphony no. 9, also known as the “Great.” And great it certainly is: not merely in the symphony’s musical material, which is some of the finest ever crafted by this composer. But also great in its proportions.

On the two hundred and fifty-sixth birthday of Johannes Chrysostomus Wolfgangus Theophilus Mozart, a voice over the loudspeaker announced the arrival of the more succinctly-named Emmitt Smith to the stage of Dallas’s Meyerson Symphony Center. Mr.

La Orquesta Nacional, bajo la batuta de su director asociado Juanjo Mena, interpretó dos sinfonías de Schubert, la Sexta y la Novena, y el Concierto para violín de Britten con la participación del canadiense James Ehnes.

Solist, Orchester und Dirigent schienen die Geschichte eines Clowns zu erzählen: künstlerisch existentiell, tragischkomisch, stimmig unterhaltend.

Un concert qui laissera comme une trace lumineuse, un souvenir de joie sans mélange.

El CNDM presentó la cuarta edición de ¡Solo Música! Cinco orquestas dieron vida a las "Nueve Novenas" y Víctor Pablo Pérez acometió la titánica labor de dirigirlas todas. Al piano se presentaron las Sinfonías de Beethoven en transcripción de Liszt y se cerró un día de música para todos con fuegos articiales y música de Handel.

En enero de este año, después de varias temporadas sin director, la Filarmónica de la UNAM nombró director artístico al violinista Massimo Quarta. En este concierto, el tercero de los cuatro que dirige en  su primera temporada como titular, nos ofreció el concierto para violín de Beethoven en el doble papel de solista y director, y la monumental novena sinfonía de Schubert.

Richard Egarr se puso al frente de la OSG para dar vida a un programa con los grandes nombres del clasicismo y primer romanticismo, recuperando la autenticidad y las emociones de unas músicas a las que imprimió una potente individualidad.

Dans le cadre du festival Toulouse les Orgues, l'Orchestre du Capitole magistralement dirigé par Tugan Sokiev et Yves Rechesteiner en liaison depuis la cathédrale Saint-Étienne nous offrent un magnifique concert.