En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Nathalie Stutzmann

Le metteur en scène imagine une mise en abyme qui montre ses limites. Sur le plan musical c'est en revanche une réussite, de Nathalie Stutzmann à la baguette à Stéphanie d'Oustrac dans le rôle-titre.

Le pianiste étatsunien a livré un Concerto pour piano n° 4 de Beethoven sobre et concentré, avant que la cheffe ne déchaîne les forces de l'Orchestre de Paris dans Wagner.

Pour la première fois invitée à diriger la phalange toulousaine, Nathalie Stutzmann laisse une impression mitigée, très positive dans la Troisième Symphonie de Brahms mais moins convaincante dans le reste du programme. 

Face à une audience rajeunie, le violoncelliste a eu beau casser deux cordes, il a surtout impressionné par sa justesse et son élégance au côté de l'Orchestre de Paris dirigé par Nathalie Stutzmann.

En ouverture de saison, la production mise en scène par David Marton et dirigée par Nathalie Stutzmann est un succès, porté par une belle distribution.

Tannhäuser qui chante en français ? Il n’en fallait pas plus pour attiser notre curiosité et nous précipiter à l’Opéra de Monte-Carlo qui présentait pour la toute première fois depuis 1861 cette singulière version créée à cette date pour Paris.

Richesse de nuances tout à fait saisie par un Mikko Franck attentif, expressif mais toujours précis, et une distribution vocale enjouée – la sidérante Sabine Devieilhe en tête -  joignant volontiers le geste théâtral à l’envolée vocale, mais ne tirant jamais la couverture à soi.

Mardi soir, la Chapelle de la Trinité de Lyon accueillait Nathalie Stutzmann et son ensemble Orfeo 55 pour un concert dans le cadre des "Grands Concerts". L'occasion de présenter "Les héros de l'ombre", titre du programme mais aussi de son dernier album, "Heroes of shadow". 

Szenisch mit Denkanstößen, musikalisch hoch filigran: Lotte de Beers Neuinszenierung an der Bayerischen Staatsoper ist in Nathalie Stutzmanns Dirigat eine tief bewegende Vertonung von Goethes Faust-Stoff.

Stutzmann's program also features the Orchestra's premiere of Missy Mazzoli's arresting tone poem, Orpheus Undone. 

Die berühmte Sopranistin wagte sich an die Ränder ihres Repertoires, die Wagner-Dirigentin legte mit Tschaikowskys Fünfter eine dramatisch inspirierte Interpretation hin.

Die Neuproduktion entstand zwar bereits vor fünf Jahren, aber die diesjährige Wiederaufnahme des Tannhäusers in Bayreuth bietet auf der musikalischen Ebene einige Überraschungen.

In her final Carnegie Hall appearance as principal guest conductor of the Philadelphia Orchestra, the French conductor leads Schumann’s Fourth Symphony and Mozart’s Requiem. 

After recording all five of Beethoven's piano concertos together, Stutzmann and Haochen Zhang joined together for a rousing interpretation of the Emperor, followed by a lively Seventh Symphony. 

The Ninth forms a satisfying sequel to the conductor's mastery of the Seventh, marked by rhythmic spring and sonic splendour. 

Tobias Kratzers Regieansatz voller Anspielungen sowie Klaus Florian Vogts wandlungsfähige tenorale Leuchtkraft bleiben 2023 wiederum Bayreuther Publikumsmagnete.

Peter Mattei's smooth-as-silk baritone leads a handsome cast in the Metropolitan Opera's bleak new production of Mozart's great dramma giocoso. 

The principal guest conductor brings a rough edge to the orchestra's sound in Brahms' First Symphony, with Gil Shaham projecting lyrical elegance in the composer's Violin Concerto.

A season in Verizon Hall rarely goes by without a performance of Dvořák’s New World Symphony, yet the Principal Guest Conductor brings new insights to the fore of this familiar piece.

Alice Sara Ott quenching the demonic flames of César Franck's Le Chasseur maudit with a beautiful rendition of Beethoven's C minor piano concerto. 

In her first appearance with the orchestra this season, Nathalie Stutzmann offers overly tentative readings of Verklärte Nacht and Siegfried Idyll, alongside perfunctory excerpts from Don Giovanni.

Ending her first season as principal guest conductor, Stutzmann brought a unique and personal perspective to the Pathétique, finding inspiration in the letter of the score.

Everything about Dvořák's Cello Concerto with the Royal Stockholm Philharmonic Orchestra was special.

A wonderful performance of all the works Berlioz, Bruch and Schumann, but it was the young violinist Lozakovich who stole the show. 

Giltburg's playing was like liquid silver pouring out of the Steinway.

The War of the Romantics – Brahms v Wagner – from the BBC National Orchestra of Wales and Nathalie Stutzmann, followed by an energetically powerful Mozart Requiem with the BBC National Chorus of Wales on fine form.

The young French cellist says he can't sing. But that didn't stop him producing a great cantabile performance for Dvořák's great crowd-pleaser.

A charming, thoughtful account of Beethoven's First Piano Concerto by Norwegian pianist Christian Ihle Hadland, while the NSO under the baton of Stutzmann delivered wonderful Haydn and Mendelssohn Symphonies. 

In an all Tchaikovsky programme, Ray Chen delivers a cracking account of the Violin Concerto while Stutzmann brings out all the drama of his Fifth Symphony.

Stutzmann and NSO deliver a compelling vision of Dvořák's Seventh while violinist Eberle and violist Grosz achieve a fine balance in Mozart's iconic Sinfonia Concertante.

It is unlikely that anyone went home from this soul-inspiring performance without that famous "Ode" ringing in his or her head.

A night to remember: an exciting Rachmaninov Piano Concerto no. 2 from Gryaznov and a passionate Brahms Symphony no. 1.

Stutzmann continues to impress with her excellent insight and musicianship with a satisfying Lalo overture and a masterful Beethoven Fifth Symphony. Cellist Alban Gerhardt delivers a rewarding Elgar concerto. 

Two contraltos in one room is a high concentration of contraltos; except that one of them appeared in the role of conductor.

Eberle delivers a searingly intense Brahms' Violin Concerto in D major while Stutzmann energises the NSO with some lively Beethoven and Prokofiev.

Reflections on mortality provided by the French contralto Nathalie Stutzmann conducting the London Philharmonic Orchestra and Choir in two works by Richard Strauss and Mozart.

Stutzmann displays her customary thoughtfulness and musicianship in Beethoven and Brahms, while violinist Zorman and cellist Elschenbroich deliver a remarkably satisfying Double Concerto. 

The NSO ends their season with a fullsome Bruckner's Fourth Symphony. 

A decadent romantic programme of Wagner and Mahler, where Nathalie Stutzmann delivered a scintillating performance particularly in Wagner's Prelude.

Vibrancy and dynamism at the expense of the majesty of the sacred. 

Destined to be demolished but still in full song last Sunday, the Dr. Anton Philipszaal hosted a unique baroque concert by Philippe Jaroussky and Nathalie Stutzmann. Seldom did Handel's and Vivaldi's opera heroes capture the imagination to this degree.

Nathalie Stutzmann sings Winterreise in Madrid, in a collaboration that showed them together, if not quite as one.

Thursday’s concert in the Oslo Concert House marked the end of an era. It was, along with the concert the following evening, the final concert of Jukka-Pekka Saraste, the orchestra’s principal conductor for the last seven years. Final, as in his final concert as principal conductor: the orchestra isn’t letting go of him that easily.

Programming is one of Simon Rattle’s fortes, and this was clearly evident her. Both works on the programme, Brett Dean’s The Last Days of Socrates and Michael Tippett’s A Child of Our Time are large-scale oratorios dealing with difficult subject matter.

What do Schubert’s Third Symphony and Mahler’s Das Lied von der Erde have in common? Not a whole lot, which is why it came across as rather puzzling that the two pieces should be programmed together. Yet, in the Oslo Philharmonic’s September 6 and 8 concerts, they were. The result was a mixed bag of two wildly different works, written almost a century apart.Schubert’s Symphony no.

Classical music is often portayed as being very serious, which is part of what makes it seem inaccessible at times. But this is a mistake: there are plenty of pieces that are, in a word, fun.