In a program including both modernist and neoclassical works, Michael Tilson Thomas and the SFO emphasized the common traits characterizing Stravinsky's entire ouevre.
Jaap van Zweden commenced his role as music director of the New York Philharmonic with a première by Ashley Fure, Stravinsky's Rite of Spring, and Ravel's Piano Concerto in G major featuring pianist Daniil Trifonov.
Just as Igor Stravinsky’s Petrushka and Le Sacre du Printemps opened up new musical horizons for dance at the start of the 20th century, Ballett Zürich’s Stravinsky evening sees two leading modern choreographers revive these works.
Impressive Ravel from Benedetto Lupo, with pleasing Debussy and Delius, and a strong performance of Stravinsky’s The Rite of Spring from Juanjo Mena and the LPO.
Once again, Scottish Ballet produces another winner for the Edinburgh Festival Theatre with a double bill of ballets set to the emotive otherworldly harmonies of composer, Igor Stravinsky.
The Cleveland Orchestra’s 100th anniversary season officially opened with a stunning program that also featured Franz Welser-Möst’s own transcription of Beethoven’s Op.132 string quartet.
The Staatsorchester Darmstadt under Will Humburg performed three mightly works for large orchestra to bring its season to a close: Kurtág's Stele, Strauss's Also Sprach Zarathustra and Stravinsky's Rite of Spring.
This was a most impressive showing from the orchestra and conductor in which the works of three influential composers given emotionally engrossing treatment.
A top heavy programme marred Leif Ove Andsnes and Marc-André Hamelin's two piano recital at Wigmore Hall, though it had its moments of high inspiration.
Esa-Pekka Salonen’s colorful program included the first Chicago performance of John Adams’ Scheherazade.2 with dedicatee Leila Josefowicz, along with works of Debussy and Stravinsky.
Charles Dutoit, still sporting his trademark slick of black hair and a 79-year-old whirlwind of francophone charisma, clearly brings this band's playing to a new level, especially when the repertoire happens to be French and Russian music of the 20th century.
Vasily Petrenko and the RLPO perform an all-Russian programme, with an exceptional Rite of Spring and charismatic playing from solo harpist Catrin Finch.
In the first concert of their exciting series Stravinsky: Myth and Ritual celebrating the varied musical inspirations of this most iconic figure of 20th-century composers, the focus was on Rituals.
The Orchestre Symphonique de Montréal and Kent Nagano give terrific performances of Debussy, Prokofiev and Stravinsky as they embark on their American tour.
Rising superstar Gustavo Dudamel led mixed interpretations of two of Stravinky's best-loved scores; consistently good orchestral playing was augmented by occasional glimpses of brilliance.
Three substantial works from 1800, 1913 and 2008 in an enterprising and unusual combination, performed by the London Phlharmonic Orchestra conducted by Markus Stenz, and with the Moldovan violinist Patricia Kopatchinskaja as soloist.
A colourful concert from the Bergen Philharmonic Orchestra and Andrew Litton, which included two world premières and the fourth Proms appearance of Russian violinist Alina Ibragimova.
French pianists François-Fréderic Guy and Jean-Efflam Bavouzet returned to London’s Wigmore Hall to present a programme of three 20th century orchestral scores transcribed for two pianos.
The Rite of Spring provides the centrepiece of Alice Sara Ott and Francesco Tristano's "Scandale" programme, an often fatiguing programme, but thrillingly performed.
Barbara Hannigan joined the London Symphony Orchestra and Sir Simon Rattle for performances of Berg’s Three Fragments from Wozzeck and Ligeti’s Mysteries of the Macabre.
For their final season concert, Morlot leads the Seattle Symphony in an ambitious programme of all three of Stravinsky's pre-WWI scores for the Ballets Russes.
The overriding theme of the Auckland Philharmonia Orchestra’s season finale concert appeared to be night, teaming Schoenberg’s Verklärte Nacht and Falla’s Nights in the Gardens of Spain with the raging force and violence of Stravinsky’s The Rite of Spring.
Rarely does one see five grand pianos in one room, let alone on one stage. Enter the 5 Browns, a classical piano quintet. Siblings and Juilliard graduates – they were the first family to be enrolled at the Juilliard School simultaneously – it is clear this family has talent. Performing individually and together, this young ensemble has a vivacious and affable approach to classical music.
With the double bicentenary of Verdi and Wagner this year, other musical landmarks risk being eclipsed. But this October “La Verdi” commemorate the 140th anniversary of Rachmaninov’s birth with a series of concerts and lectures featuring all four of his piano concertos alongside works by other Russian greats.
Conductor and wunderkind Yannick Nézet-Séguin returned home to Montreal to lauch the 33rd season of L’Orchestre Métropolitain with a concert dedicated to compositions written or created a century ago in 1913.
“Gergiev, your silence is killing Russian gays!” Activists from Queer Nation had disrupted opening night at the Metropolitan Opera three weeks ago, and with demonstrations outside it was almost inevitable that the same protests would accompany the start of the Mariinsky Theatre Orchestra’s three-concert stay at Carnegie Hall.
At the end of yesterday’s concert, there was a lot of hugging on stage. This was only to be expected. The high-quality music-making to which the audience had been treated was, for the players, a brief and unrepeatable experience, for some of them a nostalgic pilgrimage back to their homeland.
One hundred years after the première performance of Stravinsky’s ballet The Rite of Spring, perhaps one of the most controversial and infamous stage premières of all time, the BBC Symphony Orchestra and the Barbican Centre’s Total Immersion collaboration provided an all-round look at every aspect of the music, choreography and the première itself through a variety of events on Sunday, culmi
It may have been the autumn equinox, but this evening spring came to a balmy Birmingham, meteorologically and musically. Symphony Hall was abuzz in anticipation of Stravinsky’s The Rite of Spring in the piece’s centenary year, but the concert – and the 2013/14 season – was launched with Wagner’s Tannhäuser overture.
The Berliner Philharmoniker and Sir Simon Rattle came to Paris last weekend for an eclectic program: Mozart’s final three symphonies on Saturday night, and the decadence of Schoenberg, Berg and Stravinsky on Sunday afternoon.
There are new forces at the helm at the Oslo Philharmonic. After last season’s final concert of Mahler’s Second Symphony, the farewell of the orchestra’s longtime chief conductor Jukka-Pekka Saraste, this season’s opener was the inaugural concert of the new chief conductor, Vasily Petrenko. Expectations have been high, especially after some very successful concerts this spring.
Inside the Benedict Music Tent this evening the Aspen Festival Orchestra, all in white to match the walls of the tent, began to warm up for their penultimate concert of the season.
The amount of attention Igor Stravinsky’s iconoclastic ballet score The Rite of Spring has received this year – its 100th – has been enormous, perhaps even excessive. Countless important works, after all, routinely have anniversaries to celebrate, and very few are lucky enough to receive much particular attention. On Bachtrack alone, the year has seen nine concert reviews of the Rite so far.
