En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Kirill Karabits

Concert de l’ONF en faveur du Sidaction sous la baguette de Kirill Karabits, remplaçant Semyon Bychkov. Un résultat à l’expressivité rare, aussi animé que savamment nuancé.

French Baroque from a 20th-century perspective as well as the real deal with François Couperin's hommage to Jean-Baptiste Lully. 

The Bournemouth Symphony Orchestra offers sweeping early Beethoven and a 250th birthday tribute by Magnus Lindberg.

Nine symphonies, five orchestras, two days: an immersive weekend as part of the Barbican's Beethoven 250 coverage featuring some of the UK's finest orchestras. 

A concert of ear-catching tunes from the Bournemouth Symphony Orchestra swept by under the efficient and occasionally uninvolved direction of Kirill Karabits.

Exhilarating Adams and insightful The Planets from the BSO and Karabits, with a Proms debut from Nemanja Radulović in Barber with great presence and warmth.

A marvelous musician, Mikhail Pletnev, conveyed a fresh perspective on the inner works of Rachmaninov's Second Piano Concerto. 

The BSO deliver a malevolent Walton Symphony no. 1 and a joyous Elgar In the South. Meanwhile, Trpčeski provides lovely moments in Tchaikovsky's Piano Concerto no. 1. 

An animated performance of Tchaikovsky’s Violin Concerto from Radulović along with a gripping account of Rachmaninov's First Symphony makes for a splendid night of Russian fire with the BSO. 

Shining brass highlighted an honest Bruckner Eight which was preceded by Mozart’s Piano Concerto in A major played by Robert Levin.

Kirill Karabits leads the BSO in music by Glazunov and Tchaikovsky, which prove more appealing that David Fray's Beethoven.

Chances to hear Messiaen's epic Turangalîla-Symphonie are few and far between and should be grasped accordingly.

Kirill Karabits and the Bournemouth Symphony Orchestra brought a wide ranging programme from the south coast for their annual Proms visit.

Schumann and Wagner were twinned in a programme focusing on works written in 1850 with impressvie results. 

Karabits leads an adventurous programme at the BSO’s Poole home, with flamboyant violinist Nemanja Radulović on surprisingly refined form in the Barber Concerto.

Cellist Jean-Guihen Queyras and the BSO capture the contrasting colours in French and Russian music. 

The Bournemouth Symphony Orchestra returned once again to the Colston Hall to perform three very different works. Steven Isserlis headlined the evening with a fantastic rendition of Shostakovich’s Cello Concerto no. 1.

The Bournemouth Symphony Orchestra returned to the Proms with a trio of works, composed between the turbulent years 1944-45. 

A thrilling evening at Poole’s Lighthouse with the BSO and Chorus plus a quartet of superb soloists, conducted by Kirill Karabits in an unforgettable performance of Verdi’s Requiem. 

A very exciting evening at Poole’s Lighthouse with the BSO and artist in residence Sunwook Kim playing Rachmaninov’s Third Piano Concerto together for the first time. 

Sally Matthews comes home to the South of England to give a beautifully delicate and heart-rending performance of Strauss’ Four Last Songs with the BSO.

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.

It may have been an absolutely freezing night in Poole but the BSO treated us to a heart-warming evening of life-affirming music, world-class music-making.

Mahler’s Blumine, Beethoven’s rarely performed Triple Concerto and Shostakovich’s Fifth Symphony were given a fresh coat of paint by the BSO.

Kiril Karabits brings out the climaxes, in a solid performance of Bruckner's Seventh Symphony in Basingstoke, couple with Mozart's Clarinet Concerto.

The beginning of a concert season given by the Bournemouth Symphony Orchestra is always eagerly anticipated – especially when directed by their Principal, award-winning conductor, Kirill Karabits.

The I, Culture Orchestra animate an Edinburgh Festival audience with elegy, irony and defiance.

Sinuous and seductive, wily and beguiling, Scheherazade can prove a handful for many conductors. Do you try to tame her capricious moods or succumb to her will? Kirill Karabits allowed Clio Gould and the Royal Philharmonic Orchestra to relate the tale at their own pace. 

Kirill Karabits’ imaginative programme revealed CPE Bach as a difficult composer to place, with a symphony bearing all the hallmarks of a young Mozart and an ode with pre-echoes of Haydn’s The Creation, counterbalanced by the UK première of his 1784 St John Passion where, in the chorales at least, CPE demonstrated that he was a chip off the old block.

Kirill Karabits directs the Bournemouth Symphony Orchestra in electrfying Prokofiev, while Nicola Benedetti impresses in Korngold in Dublin. 

The theme to the evening’s programme at the Colston Hall was “The Power of Love”. Spread over a century, the three works programmed were all romantically driven.

Wednesday night’s Prom saw the Bournemouth Symphony Orchestra and their principal conductor Kirill Karabits give the fourth instalment of the season’s Tchaikovsky symphony cycle with the sunny, confident Third, in D major. As the programme noted, the D major symphony is somewhat hard to place between the folksy, popular appeal of the first two and the high psychological drama of nos. 4–6.

It took the Royal Philharmonic Orchestra a little while to settle into tonight’s performance – which was a shame, because Borodin’s overture to Prince Igor can be a fantastic programme opener. A slightly untidy brass chord began the measured introduction, which sadly lacked tension in the build-up to the sudden fanfare and breakneck main theme.

Good programming makes for a good concert. Chosen works must fit well together, providing enough musical contrast to keep things interesting, but they must not be so different as to jar listeners with alien soundworlds. All too often, organisers whip up concerts in which any link between pieces are entirely superficial and completely amusical.

Throughout the preliminary rounds of BBC Young Musician 2012, the judges have stressed that the emphasis is on musicianship, on looking for that extra spark that makes every performance really special, but also on the importance of enjoying music.

Each year, BBC Proms provides a great opportunity for the UK regional orchestras (in particular for the non-BBC orchestras such as the Bournemouth Symphony, the Halle and the Liverpool Philharmonic) to showcase themselves. This year, I decided to sample Kirill Karabits and the Bournemouth Symphony as I have been hearing good things about this partnership for a while.

Thus reads the dedication of Alban Berg’s Violin Concerto, written in 1935 to commemorate the short life of Manon, the 18-year old daughter of the famous architect Walter Gropius (founder of the Bauhaus) and Gustav Mahler’s widow, the complex socialite, Alma Mahler. The apparently enchanting Manon (described as “an angelic gazelle from heaven”) died after suddenly contracting polio.

Mozart's Don Giovanni is an opera that is most difficult to classify. On the one hand, it has many of the trappings of a traditional opera buffa: a fast-paced farce with people falling in and out of bed, master and servant switching clothes, a buffoon-like manservant sung in the bass register and so on.