Rechercher des critiques de musique classique, opéra et ballet | London Philharmonic Orchestra

Au Théâtre des Champs-Élysées, le violoniste a livré une interprétation époustouflante du concerto de Sibelius. Dirigé par Robin Ticciati, le London Philharmonic Orchestra a laissé une impression plus mitigée dans Bruckner.

Ray Chen s’est attaqué avec le London Philharmonic Orchestra au Concerto pour violon de Brahms. Manfred Honeck, Autrichien de naissance, a mis le soliste et l’orchestre sur les rails, ou du moins a essayé de le faire.

L’impressionnante Quatrième Symphonie de Górecki se sera fait attendre. L’oeuvre fut achevée en 2006, mais il a fallu que ses enfants retrouvent une esquisse complète de partition des années plus tard pour qu’elle prenne vie, puisqu’à sa mort en 2010, le compositeur ne la jugeait pas encore prête.

El proyecto de interpretación de la integral de los conciertos de piano de Beethoven a cargo de Javier Perianes, Juanjo Mena y la London Philharmonic Orchestra llega a Santander en la recta final de un festival marcado por la excelencia.

Vladimir Jurowski conducts the London Philharmonic Orchestra in works by four Russian composers whose UK premieres were all unveiled at the Proms. 

A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

Cast changes and a revival director who sharpens up the action make all the difference to this revival of Rossini's *Barber of Seville* in Glyndebourne's opening weekend. 

Christopher Purves bosses the show as Méphistophélès; Richard Jones' production is intelligent and carefully thought through but ultimately unconvincing.

Janine Jansen was the superb soloist in Brahms' Violin Concerto, balancing fire with refreshing mountain air before a bracing “Alpine Journey” with Bruckner's Third Symphony. 

Tired of looking at the same wallpaper all the time? The London Philharmonic and their conductor Edward Gardner, together with soloist Stephen Hough, offer one way to see (part of) the world.

Continuing its series of landmark classics inspired by the British Isles, the London Philharmonic conducted by Osmo Vänskä showcases Bax before moving north to traverse the Nordic landscapes of Grieg and Sibelius.

Walton’s First Symphony from 1935 rounded off the evening in a blaze of brassy glory. Petrenko approached the work in a full-blooded fashion, which didn’t always hit the mark, but was ultimately thrilling.

Wagner and hard-driven Brahms counter a silky smooth performance of Weber's First Clarinet Concerto.

Segunda velada en Madrid de la integral de los conciertos de piano de Beethoven a cargo de Javier Perianes con Juanjo Mena y la London Philharmonic.

Primera noche de la integral de los conciertos de Beethoven, con Perianes al piano y la London Philharmonic, en la que Mena conectó tres conciertos complejos y exigentes en su representación sucesiva con un planteamiento sólido y tangible.

Estupendo concierto el ofrecido por el pianista Javier Perianes y Juanjo Mena en el Auditorio de Zaragoza, donde el onubense puso las pinceladas románticas en un exquisita lectura del Cuarto de Beethoven, mientras el vitoriano brindaba un Mozart clásico muy bien trazado.

Where better to start the LPO's exploration of 'British' music in its Isle of Noises festival than with Sir Edward Elgar? 

Shakespeare's witches would have felt very much at home amidst the heated landscapes on display in this LPO concert featuring Sibelius and Bruckner.

Sir Roger Norrington and a strong cast joined a Baroque-style London Philharmonic Orchestra in a highly accomplished Dido and Aeneas, preceded by Handel’s clean and stately Water Music.

The chance to watch their finely gauged interpretation unfold on the Royal Festival Hall platform was a privilege.

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

A unique marriage of production and performance space provides a spactacle synonymous withe spirit of Christmas 

Alena Baeva gets under the skin of Tchaikovsky's concerto in this outstanding concert. 

Chen plays a fine solo part in Bruch and delights with his encore; Orozco-Estrada and the LPO provide some good moments but fall short of their best form.

Andrés Orozco-Estrada and the LPO offer an eclectic and unusual mix of works which, despite commendable playing, never quite added up to a satisfying whole.

Mark Elder and the LPO's performance of Puccini's Le Willis proved interesting and frustrating in equal measure, rescued by a star performance from Ermonela Jaho.

On the 100th eve of the Armistice, Vladimir Jurowsky led the LPO in four radically different meditations on death and eternal life.

In a typically ambitious programme, Vladimir Jurowski and the London Philharmonic Orchestra explored how four Czech composers responded to imprisonment, exile and renewal.

Toby Spence, Matthew Rose and Andrew Watts shine in a fluent semi-staging at the Royal Festival Hall.

Each of the works are particularly radiant in themselves, but made even more so as they were presented here.

Alondra de la Parra breathes new life into Russian classics

The London Philharmonic Orchestra, conducted by Karina Canellakis and with Pierre-Laurent Aimard as soloist, offer a scenic tour to territories once visualised by Sibelius, Dvořák and Bartók.

Vladimir Jurowski led the LPO in a thoughtful and though-provoking concert that paired Beethoven's only full-length ballet, the joyous and energetic Die Geschöpfe des Prometheus with Stravinsky's cool and melancholy Orpheus.

Stuart Skelton and Sarah Connolly were the stars of the evening, lifting the performance to a new level in what Leonard Bernstein called Mahler’s “greatest symphony”.

Commendably fine playing from the LPO conducted by Thomas Adès, and with Kirill Gerstein as soloist, three less than familiar works throw up overwhelming volumes of energy.

Sol Gabetta überzeugt mit einer reifen Interpretation von Elgars Cellokonzert. Sorgfältig und ausdrucksvoll danach Mahlers Erste mit Marin Alsop und dem LPO.

A quartet of superb soloists shine through an orchestral and choral performance of great precision to bring out Verdi’s powerful evocation of the terror of eternal damnation.

Brilliant staging, superb acting, a magnetic performance from Virginie Verrez and an excellent orchestral performance make a strong case for Samuel Barber's all-but-forgotten chiller.

The annual transfer of a production from Glyndebourne to the Proms this year saw Herheim's baffling production of Debussy's masterpiece. 

Stefan Herheim's dreamlike production of Debussy's opera sets it squarely in the Sussex manor house that gave birth to Glyndebourne's festival. 

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

After dipping its toe in the cherry blossom for Glyndebourne's Tour in 2016, Annilese Miskimmon's staging of Puccini's gut-wrencher hits the main festival.

The stellar performance of the evening was Anne-Sophie Mutter performing Penderecki's Violin Concerto no. 2 “Metamorphosen”.

Robert Treviño conducts the LPO in tension-filled accounts of Rachmaninov and Mahler. 

In a memorable evening, Jurowski and the LPO presented entirely convincing accounts.

Glistening performances by the London Philharmonic Orchestra and combined forces under Thomas Adès bring to life Stravinsky’s Perséphone, with fiery premières of works by Adès himself and Gerald Barry.

An intelligently planned and generous programme featuring the London Philharmonic Orchestra, Andrés Orozco-Estrada and Peter Donohoe in two neo-classical works by Stravinsky paired with two German Romantic works.

Trifonov's rock solid technique is applied with finesse to one of the world's most popular concerti; Stravinsky's Fairy's Kiss doesn't transfer well to the concert platform.