Stutzmann and NSO deliver a compelling vision of Dvořák's Seventhwhile violinist Eberle and violist Grosz achieve a fine balance in Mozart's iconic Sinfonia Concertante.
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.
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 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.
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.
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
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.
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.
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.
Jiří Bělohlávek, who was indisposed for his first scheduled Proms performance this year (in his final season as Chief Conductor of the BBC Symphony Orchestra), was back on the podium to conduct a Slavic-themed programme on Wednesday night.
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.
La Sinfónica de Galicia confrontó en su programa una obra de juventud de Brahms, el primer concierto de piano con Leif Ove Andsnes como protagonista, el cual optó por una visión nostálgica, con una tardía e Dvořák en la que se derrochó exuberancia y júbilo.
Frank Peter Zimmermann guía al público del Palacio Euskalduna en un viaje musical a lo largo del continente europeo de la mano de Gaubert, Martinů y Dvorák.
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.
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.
