Rechercher des critiques de musique classique, opéra et ballet | Paavo Järvi

Le chef Paavo Järvi dirigeait ce jeudi l’Orchestre de Paris dans trois œuvres contrastées. Parmi elles, le Concerto pour piano n° 4 de Beethoven, interprété avec une grande finesse stylistique par Nelson Goerner. Un concert ensorcelant !

Une vertigineuse Symphonie n° 7 de Chostakovitch célèbre le retour de l'ex-directeur musical de l'Orchestre de Paris à la Philharmonie.

Retour attendu que celui de l'ancien directeur musical de l'Orchestre de Paris. Celui qui sut porter à ses sommets la phalange parisienne exerce-t-il le même art avec sa nouvelle formation, l'Orchestra de la NHK de Tokyo ?

Dans ce texte d’une portée tellurique, qu’il taille et agence avec autant d’adresse que de respect, impossible de ne pas être subjugué par l’autorité et le tact naturels du chef estonien. Un très grand concert !

Le 10 avril 2016, Paavo Järvi dirigeait la Turangalîlâ-Symphonie de Messiaen. C’est une expérience sonore renversante et inoubliable que nous ont offerte les musiciens de l'Orchestre de Paris et les solistes (Roger Muraro au piano, Cynthia Millar aux ondes Martenot). Un choc sensoriel absolument exaltant !

Véritable monument des concerti pour violons, celui de Tchaïkovski est l'un des plus populaires. Cependant ce soir à la Philharmonie, l'orchestre de Paris dirigé par Paavo Järvi jouait aussi des œuvres moins connues : le Concerto pour clarinette de Nielsen, ainsi que l'étonnante Symphonie n°4 de Sibélius.

Radu Lupu nous donne une version désincarnée et décevante du 3ème concerto de Beethoven. Un pianiste qui n'est ce soir-là pas à la hauteur de l'orchestre de Paris, dirigé par Paavo Jârvi.

Le 5 janvier 2016, Pierre Boulez est mort, à l’âge de 90 ans. Trois semaines après, la Philharmonie de Paris lui consacrait une soirée hommage, conçue avec l’Ensemble Intercontemporain, l’IRCAM (tous deux fondés par Pierre Boulez),  l’Orchestre de Paris, et le Conservatoire de Paris.

Troisième gala d’ouverture de la Philharmonie de Paris : les masses éclatantes de Borodine, Tchaïkovski et Stravinsky livrent un nouvel aspect de l'acoustique de la salle — chatoyant bien que parfois déséquilibré.

Paavo Järvi launches his tenure as Chief Conductor of Zurich’s fine Tonhalle Orchestra with works by Arvo Pärt and Jean Sibelius.

A terrific climax to the 2019 Pärnu Music Festival, with outstanding performances from Ain Anger and the Estonian Festival Orchestra.

In Estonia's summer capital of Pärnu, holiday spirits and family pride abound in the EFO's first concert of Paavo Järvi's festival. 

Trotz der bekannten Komponisten Bach, Berg und Bruckner, bringt Paavo Järvi ein unbekanntes Programm nach Berlin.

Berg, unlike his teacher Schoenberg, didn't throw out the baby with the bathwater; Bruckner too never forgot his traditional roots. The NDR Elbphilharmonie Orchester, Paavo Järvi and Laura Aikin demonstrate.

Paavo Järvi brought pathos and nuance to Sibelius' Violin Concerto and Tchaikovsky's Sixth Symphony. 

Solist, Orchester und Dirigent schienen die Geschichte eines Clowns zu erzählen: künstlerisch existentiell, tragischkomisch, stimmig unterhaltend.

Paavo Järvi and the Berlin Philharmonic in excellent renditions of seminal works of the 19th and 20th centuries.

While the Tonhalle’s concert season officially began about a month ago, Paavo Järvi launched his own appointment here with demanding repertoire that met with great enthusiasm. 

Der estnische Dirigent bringt mit seinem jungen Estonian Festival Orchestra eines seiner traditionellen Programme nach Hamburg.

The Estonian Festival Orchestra makes its Proms debut in a refreshing Baltic-Nordic programme.

Paavo Järvi gave a real sense of occasion to the evening, though the Berlioz neither embraced frenzy nor nodded to the fantastical. 

Celebrating the 150th anniversary of its first performance, Paavo Järvi directs the Deutsche Kammerphilharmonie Bremen in Brahms' Requiem, with the Latvian State Choir and two outstanding soloists.

Aimez-vous Brahms? For anyone who thought they didn’t, this sharp, disciplined band will have made converts.

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. 

Paavo Järvi conducted the Estonian Festival Orchestra that he founded in select works by Northern composers.

Paavo Järvi joined artist-in-residence Leif Ove Andsnes and the musicians of the New York Philharmonic for Rachmaninov, Salonen and Sibelius.

The conductor guided us on a tour through a museum where Erkki-Sven Tüür, Mozart and Brahms reside in spheres of different shades and spaces – and yet each remain enclosed in a prefigured structure.

Paarvo Järvi and the NHK Symphony give a riveting account of Schumann and Schubert.

Robert Carsen's Don Giovanni cannot burn in a hell in which he does not believe. 

The Scala Ballet performs a daring triple bill this Spring, showcasing young Italian choreographers alongside one of Balanchine's masterpieces, Symphony in C.

Is the very, very good the enemy of the great? It is hard to fault a performance as fine as this – except perhaps against a benchmark no longer recognised.

The ever consummate conductor delivers a trio of stylistically contrasting works by Haydn, Beethoven and Nielsen with a single trait in common: obdurate perfectionism.

Isserlis brachte seine ganze Leidenschaft in den Solopart ein, und auch die Arbeit von Dirigent und Orchester war ausgezeichnet, überzeugend und geschlossen. Gar eine Spitzenleistung?

Paavo Järvi continues his Nielsen exploration with performances that demonstrate his attraction to Haydn and love of Brahms. 

It's not plain-sailing in Lupu's Beethoven, but Järvi's clear-sighted and controlled approach and the Staatskapelle's high-quality playing make for especially musical Shostakovich after the interval. 

Das Presto, ein galoppierendes, virtuoses Schaustück, stellt die Koordination und Wendigkeit des ganzen Orchesters auf eine harte Probe: Paavo Järvi und sein Ensemble boten eine absolut überzeugende Leistung!

An interesting evening where links between Haydn and Nielsen were illuminated in bold and individual performances.

Die Wiener Symphoniker unter Paavo Järvi überzeugen mit Tüür, Mozart und Strauss.

Glowing performances of Britten and Ravel by the Latvian violinist and her Estonian conductor.

It was the percussion which took the starring role as Haydn and Nielsen engaged in a lively skirmish at the Royal Festival Hall, the Philharmonia under the watchful command of Paavo Järvi. 

Paavo Järvi lässt das Orchestre de Paris eine Episode aus dem Leben eines Künstlers erzählen und dazu zeigt Gautier Capucon einen wilden Saint-Saens.

The third movement waltz was a particular high point for sheer fun. Tchaikovsky's implied sinister undertones slipped under the radar.

Paavo Järvi and the Philharmonia Orchestra in exciting Russian masterworks

Performers in Prague traditionally get flowers as they’re taking bows, and this concert to close the Prague Spring Festival must have emptied an entire floral shop.

Debussy, Stravinsky, Bartók and Ravel: this program was a perfect opportunity for the Orchestre de Paris to show off its beautiful playing and brilliant technique with modernist masterpieces.

The Orchestre de Paris’ 2013/14 season opened with a cymbal crash. Orages (meaning “thunderstorms” in French) was commissioned by the Orchestre de Paris to the Lebanese composer Bechara El-Khoury. In this musical storm, sounds hurt each other, as if superimposed.

Tonight’s Orchestre de Paris Prom was very much a concert of two halves, in the first of which they got to show their sensitive, introspective side, reflecting on the nature of life and lamenting too-early death, then becoming considerably more extrovert in the second for some free-spirited buccaneering, and what the programme notes describe as “vivid, prolonged and grand noise”.