En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jaime Martín

Despite the disruption, the musicians of the MSO under Chief Conductor Jaime Martín continue their interesting programme of Sutherland, Dvořák and Tchaikovsky.

Under Jaime Martín, the Melbourne Symphony Orchestra showcase Indigenous music through William Barton’s didgeridoo alongside Elgar and Mussorgsky, creating a visually and sonically vivid, if uneven, evening.

Pablo Ferrández charms in Tchaikovsky's Rococo Variations while conductor Jaime Martín offers a compelling, rhythmically driven version of Shostakovich's Tenth Symphony. 

Un evocador programa con obras de Grieg y Sibelius fue recreado bajo la batuta de Jaime Martín y con la excelente pianista Yulianna Avdeeva.

Jaime Martín concludes the programme with a powerful performance of Sibelius' Second Symphony. 

Jaime Martín keeps Mozart's Jupiter flowing with the elegant, life-enhancing energy that characterized the LACO under Sir Neville Marriner... just as stylish with perhaps more temperament. 

An evocative account of Stravinsky's Firebird by Martín and the NSO though Barry's newly commissioned double bass concerto proved a damp squib. 

Geneva Lewis embraces the lyricism in Grace Williams’ Violin Concerto, with a rousing overture from Dora Pejačević and a robust Planets Suite from Jaime Martín and BBC NOW.

Gerstein shows his virtuosic brilliance with speedy Rachmaninov while Jaime Martín and the NSO bring oriental magic to Rimsky-Korsakov's symphonic suite.

A passionate and despairing La Voix humaine from Danielle de Niese make for a special second half, after Jaime Martín conducts a satisfactory Brahms' Third Symphony.

La velada osciló entre el enfoque particular de la primera parte, tal vez no del todo logrado, y una visión más convencional y enérgica, en el segundo segmento, aunque tuvo en común la ductilidad y solidez de la Orquesta Nacional.

Un enérgico Jaime Martín dirigió la Sinfónica de Galicia en una exitosa velada para la que contaron también con la presencia del extraordinario Pablo Ferrández.

An all-day Beethoven experience European style with both highs and lows: much diversity revealed and exploited but of variable quality.

New chief conductor Jaime Martín proved to be on fire getting the best from the RTÉ NSO in tonight's works by Mendelssohn, Mozart and Beethoven, while Venezuelan pianist Gabriela Montero delights with her musicianship and improvisation.

A four-year sojourn is brought to a brilliant finish by Orquestra de Cadaqués.

Bekannter Beethoven beim LPO mit tollem Solisten und bravourösen Bläsern, aber doch zu entschlossen unentschlossen: Vibrato ja oder nein, Dynamik ja oder nein?

Powerful and impressive playing from the LSO and Jaime Martín in a Spanish-themed first half (also featuring Christian Tetzlaff), with a more nuanced array of Stravinskian colour in the second half.

Obras de Falla, Lalo y Stravinsky para un juego de referencias y variaciones en torno al carácter popular de melodías que respiraban frescura y vitalidad, y que proponían plasmar esa misma sinergia entre el director Jaime Martín y la London Symphony Orchestra.

Bajo la dirección de Jaime Martín, la BOS respaldó el inigualable sonido del Stradivarius que Ray Chen hizo vibrar con el magnífico concierto de Sibelius; la descriptiva Tres pinturas velazqueñas de Jesús Torres y la última y compleja sinfonía de Shostakovich completaban un programa estimulante.

A charming rendition of Nielsen's Aladdin Suite and Ravel’s Piano Concerto made up the first half while Martín gave us a romantic rendition of Sibelius’ Fifth Symphony.

Giltburg impresses with his warm sound and thoughtfulness in Tchaikovsky's First Piano Concerto while Martín and the NSO revel in Schoenberg's transcript of Brahms' Piano Quartet no. 1 

The LPO and Jaime Martin en pointe in a lively dance inspired programme of music by de Falla, Rodrigo and Prokofiev.

Jaime Martín conducts Antoine Tamestit and the OSESP in a night of literary inspired music by Berlioz, Turina and De Falla. 

Colin Currie played with passion and verve, but James MacMillan's new Percussion Concerto was a disappointment.

Full of physical comedy, joyous and enthusiastic, Fiona Shaw's vision of Mozart's The Marriage of Figaro makes the most of its taut and energetic plotlines, intense charactisation and beautifully balanced music. 

In the celebratedly short time in which Rossini wrote The Barber of Seville, he got into a time capsule and took a short trip to twenty-first century London; on his return to 1816 Rome, he wrote the part of Rosina for Lucy Crowe's voice. Or at least, that's what it felt like at ENO last night, as Crowe turned in a performance which outstrips my ability to find superlatives.