Find classical music concert, opera, ballet and dance reviews | Symphony no. 7 in D minor, Op.70

Stutzmann and NSO deliver a compelling vision of Dvořák's Seventh while violinist Eberle and violist Grosz achieve a fine balance in Mozart's iconic Sinfonia Concertante.

Paolo Bortolameolli leads the LA Phil in a programme mixing the familiar with the obscure. 

The audience responded as if they were hearing the Symphony for the first time. They were overwhelmed and let the musicians know it. Good start to the home stand.

Pavel Kolesnikov was at the heart and soul of a disappointing concert by the touring Czech orchestra.

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.

In performing the three late masterpieces by Dvořák, Järvi found different ways to triumph. 

Paavo Järvi finds a bracing approach to Dvořák with the Philharmonia in Bedford. 

The Ulster Orchestra and Rosanne Philippens dazzle in Vaughan Williams and Sibelius under the baton of Jac van Steen.

A superstar soloist helps the Toronto Symphony Orchestra offer a telling tribute to Czech conductor Karel Ančerl.

Alisa Weilerstein teams up with Pablo Heras-Casado and the SFS to deliver superb Schumann at the Davies Symphony Hall. 

In the first of two successive Proms appearances, the BBC National Orchestra of Wales gave solid performances of two popular scores from the central European repertoire. Malcolm Hayes’s new work, however, proved to be the highlight of the evening. 

The Hallé’s end-of-season Dvořák festival continued with the Seventh Symphony, Cello Concerto and Slavonic Dance no. 2 from the Op.72 set. 

Berwald’s quirky Third Symphony opened the concert before a beautifully judged performance of Dvořák’s Seventh Symphony.

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.

Nicolaj Znaider proves a better conductor than soloist with the OSM in programme of works by Mozart, Smetana and Dvořák. 

Marin Alsop made belated subscription debut with the CSO Thanksgiving weekend with a varied program contrasting 20th and 21st century British and American works with Dvořák's tragic Seventh Symphony.

Waiting for sunrise while listening to the Orchestra Filarmonica La Fenice, brilliantly conducted by Alvise Casellati, created an emotional effect in the audience

Standing in for an unwell Andris Nelsons, Birmingham-born Alpesh Chauhan proved a satisfying substitution for a capacity audience at Symphony Hall.

Picking up where his Czech predecessors left off, Vasily Petrenko led the Royal Liverpool Philharmonic in a satisfying close to this year's festival.

Steve Mackey's Violin Concerto entitled Beautiful Passing was the highlight in this Sydney Symphony concert which also explored popular Czech repertoire. 

Khachaturian’s innate gift for melody and Dvořák’s penchant for grandeur and drama led to an evening of sumptuous and exciting music-making from the BSO. 

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

After a slightly disjoined start, the RPO delivered an ultimately satisfying concert with distinctive and involing intepretations of two Romantic warhorses. 

Ludovic Morlot's fourth season with the Seattle Symphony launches with a mini-Dvořák festival, some plush Wagner, and an ear-opening take on a Tchaikovsky warhorse featuring pianist Daniil Trifonov in his SSO debut.

With so much focus - understandably - on London's concerts during the Proms season, it is a delight to be able to listen to and attend various other related performances across the UK. 

James Levine and the Met Orchestra travel a few blocks south to Carnegie Hall, to perform a program of works by Antonin Dvořák.

On walking into the foyer of Colston Hall, I was greeted by the sound of a jazz band playing The Girl from Ipanema. This was not quite what I expected from the Colston Hall’s “Symphony Project”, but nevertheless a tasteful and welcoming opening, that created a cheerful atmosphere.

There can be few openings which get as briskly down to business as Britten’s 1946 The Young Person’s Guide to the Orchestra. Peter Oundjian and the RSNO exploded into the minor-key Rondeau, which Britten had borrowed from Purcell’s 1695 Abdelazer Z. 750.

Peter Oundjian chose to open his tenth season as Music Director of the Toronto Symphony with a work he characterized as “ebullient”, and, truth be told, under Maestro Oundjian’s baton, it bubbled like a glass of champagne.Britten’s Variations and Fugue on a theme by Purcell (1946), a.k.a.

The Czech Philharmonic has had something of an eventful history since its first concert, given under the baton of Antonín Dvořák in 1896. Since then, the orchestra has been conducted by a number of distinguished musicians, including Gustav Mahler.

Conductor Adrian Brown began his introduction telling us of how he’d loved Bruckner since he was a teenager, and then went on to say that Bruckner’s symphonies were like “cathedrals in sound”. I confess to closing my eyes in jaded exasperation.

It was an auspicious debut; a collaboration that, in time, would propel both orchestra and conductor to the very summit of the classical music world. On the stage of the old Philharmonic Hall in Downtown stepped a 24-year-old conductor at the very beginning of his world career.

How gratifying that James Conlon briefly introduced the rationale for this Philadelphia Orchestra concert, which turned out to be entirely divorced from the nostalgic ‘Memories of Prague’ that its title suggested. Instead, what I had presumed to be coincidental key signatures were in fact the link: an exploration of D minor (with a side of D major).

This was the second of a triptych of concerts in Baden-Baden centred around the Russian cellist Mischa Maisky, who played here with the Bamberger Symphoniker and Jonathan Nott in an all-Dvořák programme.Dvořák's Cello Concerto in B minor is his final large-scale orchestral canvas, and justly celebrated as one of his finest achievements.

The programme for last night's London Philharmonic concert at the Royal Festival Hall was wall-to-wall Late Romantic, with the first half consisting of three very different works linked by the theme of death. We opened with Rachmaninov's symphonic poem The Isle of the Dead, inspired by a painting by the Swiss artist Arnold Böcklin.

Das Houston Symphony Orchestra unter Andrés Orozco-Estrada brillierte mit swingendem Bernstein und dramatischem Dvořák.

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.

Séduisant rapprochement de styles divergents, mais surtout de timbres inaccoutumés, ce choix d’œuvres audacieux met à l’honneur des instruments aussi inhabituels que le basson ou le cor, brouille les harmonies familières.

Mit viel Elan und Pathos interpretierte die Tschechische Philharmonie Komponisten ihrer Heimat und traten mit Khatia Buniatishvili in Schumanns Klavierkonzert in einen Dialog mit geschmeidigen Fingerspitzengefühl der Solisten. 

Es verwunderte nicht, dass das Orchester selbst seinem Dirigenten fast noch enthusiastischer applaudierte als das Publikum im praktisch ausverkauften Saal.

Das Luzerner Sinfonieorchester bezauberte mit selten gespielten Werken von Respighi und Bloch im KKL.

Lyon touché par un musicien d’exception : Menahem Pressler en concert à l’Auditorium

Das Leben ist kein Wunschkonzert? Stimmt! Zur Eröffnung der Europäischen Wochen aber machten die Pilsener Philharmoniker eine Ausnahme.

Klaus Florian Vogt, l'un des grands ténors wagnériens actuels a interprété avec brio au Théâtre des Champs Elysées Parsifal et surtout Lohengrin. Il était magnifiquement soutenu par Andris Nelsons avec le City of Birmingham Symphony Orchestra, qui ont aussi illuminé Dvorak.