Robin Ticciati and the DSO bring a strong sense of purpose to Rachmaninov's Second Symphony and Christian Tetzlaff explores the extremes of Beethoven's Violin Concerto.
Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.
A sumptuous, elegant rendition of Beethoven's Violin Concerto by Nikolaj Znaider, while exchanging violin for baton, Znaider conducts the NSO in a fascinating rendition of Shostakovich's Symphony no. 5.
The Concertgebouw's distinctive sound has remained intact. Ripe lower strings meld with limpid winds and sculpted horns emerge slowly into the foreground all gleaming and glistening.
Four years ago, the ACO mounted The Reef. Mountain is clearly its successor: another film project involving scenes of nature peopled by extreme-sports enthusiasts, screened while an eclectic soundtrack is played live by the orchestra.
Although Beethoven was none too fond of despots, self-proclaimed emperors, or religious intuitions, one can image his approbation for Justinian’s stupendous Hagia Eirene basilica as a perfect venue for his music.
Julian Rachlin as soloist and conductor combines Beethoven's violin concerto and Third Symphony into one long story, told with great clarity by Royal Northern Sinfonia.
The Tokyo Symphony gave the Japanese première of Shostakovich's Tenth in 1954, less than a year after its first performance in Leningrad. Jonathan Nott’s approach could scarcely have been more different.
A polished and deeply moving Beethoven Violin Concerto from Nikolaj Znaider was complemented by exquisite and vibrant performances of Max Reger and Richard Strauss from the Staatskapelle Dresden.
Christoph Eschenbach returned to the Concertgebouw with another smashing success, leading the London Philharmonic Orchestra in a programme of Beethoven, Brahms, and Rihm.
Ludovic Morlot guest-conducts the Los Angeles Philharmonic in a life-affirming programme pairing classic Beethoven with a contemporary masterpiece by John Luther Adams.
Sunday night's concert saw the LSO on top form, however their partnerships with Christian Tetzlaff and LSO Chorus on either side of the interval produced mixed results.
Gerd Schaller and the Philharmonie Festiva re-evaluate Bruckner's “Zero” in a first-rate performance, following a somewhat lacklustre Beethoven Violin Concerto from Ingolf Turban.
This concert, in a nifty piece of skilful programming, comprised a Beethoven sandwich, with Penderecki’s Fourth Symphony as the filling, both composers who clearly enjoy pushing the boundaries of classical form.
After Marios Papadopoulos' propulsive account of Brahms' Third Symphony, Nigel Kennedy joined the Oxford Philomusica to give an unpredictable and inconsistent performance of Beethoven's Violin Concerto.
With speculation rife as to whether Sir Simon Rattle will become principal conductor of the London Symphony Orchestra upon departing from the Berlin Philharmonic, this electrifying concert provided a tantalising glimpse of what the future might have in store.
Every once in a while, as a reviewer, you are so utterly transfixed by a performance that it becomes an incredible effort to wrench yourself back into reality in order to put pen to paper, such is the visceral impact. And so it was with Christian Tetzlaff’s performance of Beethoven’s Violin Concerto with the City of Birmingham Symphony Orchestra.
With a sparkling programme of concert classics, the Royal Philharmonic Orchestra, conducted by Grzegorz Nowak and joined by renowned violinist Robert Davidovici were on fine form at the Cadogan Hall on Tuesday evening.
“Europe’s answer to the ACO” was how composer Brett Dean described the Mahler Chamber Orchestra before its first concert in Sydney. Despite the similarity in names, the two are very different ensembles.
On the day after the announcement of the programme for this year’s BBC Proms, the BBC Symphony Orchestra gave us yet another concert worthy of that great festival. Under the experienced baton of Martyn Brabbins they took three centuries of music in their stride and at the end of the concert I was left feeling that musical life in London would be so much less exciting without the BBC.
Severance Hall was packed this weekend for a rare appearance by violinist Joshua Bell with the Cleveland Orchestra and music director Franz Welser-Möst conducting. There should have been no disappointment; the concert was brilliantly executed from beginning to end. This review is based on the performance of Saturday, 19 January.Jörg Widmann’s Lied (2003, revised 2009) opened the concert.
“Royal Albert Hall / Barbican / Usher Hall (delete as necessary) sold out for Sunday morning concert.” How likely is this headline in response to a normal, mid-season concert in Britain? For Hamburg, it is perfectly normal, and the crowds that thronged the Laeiszhalle, young and old, chic and casual, were not to be disappointed.
On 3 September 1912, in a Proms concert which also featured a comedy overture by Granville Bantock and excerpts from Délibes’ ballet Coppélia, Henry Wood and his Queen’s Hall Orchestra gave the world première of Arnold Schoenberg’s Five Orchestral Pieces, a landmark work in atonal expressionism which drew hisses from the hall audience.
The air was thick with excitement in the Royal Festival Hall on Wednesday night. Strangers turned to talk to each other and every conversation seemed to be about Pinchas Zukerman: their first Zukerman experience, favourite recordings and how far they had travelled to see their hero.
Bournemouth Symphony Orchestra began what promised to be an excellent programme with a simple Romantic work from Richard Strauss, Traumerei am Kamin (“Dreaming by the Fireside”).
Après une palpitante interprétation du concerto de Beethoven et de la Symphonie n° 1 de Mahler, Isabelle Faust, Daniel Harding et l'Orchestre de Paris triomphent à la Philharmonie.
Acompañada por la Philharmonique du Luxembourg y su director titular, Gustavo Gimeno, la violinista Vilde Frang cautivó con una ejecución sublime del Concierto en re mayor, de Beethoven. El programa se completó con la Quinta sinfonía de Tchaikovsky.
Retour sur la grande finale « concerto » du Concours Long-Thibaud, vendredi et samedi à la Maison de la Radio : six jeunes violonistes aux talents aussi grands que variés ont fait honneur au grand répertoire.
El carácter pasional de Beethoven y el lirismo de Brahms, ambos de una expresividad entusiasta exacerbada, protagonizaron la innovadora visión sobre la interpretación de David Grimal, que trasladó la experiencia de su proyecto de orquesta sin director al programa que en esta ocasión ofreció la Orquesta Sinfónica de Galicia.
Une figure montante de la direction d’orchestre, Krzysztof Urbański, et un très jeune violoniste de seize ans à peine, Daniel Lozakovitch. Une affiche alléchante qui a tenu en grande partie ses promesses.
Arranca la sexta edición de La Filarmónica. Se renueva y se demuestra el compromiso a partir de la fiabilidad y la calidad bullente; un cóctel que la melomanía ha de festejar.
Trevor Pinnock und das Basler Kammerorchester begannen beide Konzerthälften des Reforamtionskonzerts mit einem Rückbezug auf Bach. Dazu spielte Vilde Frang Beethovens Violionkonzert.
Primera actuación de la temporada del Coro Nacional de España que junto a la Orquesta ofrecieron una memorable versión del Requiem de Fauré. Completaba el programa el concierto de Beethoven con Zimmermann como solista intachable en una interesante conjunción con la orquesta.
