En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Truls Mørk

Le violoncelliste norvégien a régalé dans les nombreux thèmes lyriques du Concerto pour violoncelle de Dvořák, avant une Cinquième Symphonie de Tchaïkovski décevante sous la baguette d'Anja Bihlmaier.

Entre une pièce de Clara Iannotta, un concerto de Chostakovitch et une symphonie de Schubert, le concert s'est avéré hétéroclite et parfois déroutant mais la qualité des interprètes l'a emporté.

Le violoncelliste norvégien fait corps avec le Deuxième Concerto de Chostakovitch. À la tête de la phalange toulousaine, Petr Popelka marque également les esprits dans Dvořák et Prokofiev.

Dans le cadre des commémorations entourant le centenaire du décès d'Albert Ier, l'OPMC a invité le violoncelliste norvégien pour un programme qui mettait en avant des compositeurs chers au prince.

Soirée d'exception à l'Auditorium de Lyon où Truls Mørk, Thomas Søndergård et l'Orchestre National de Lyon en grande forme transportent la salle à travers un somptueux programme 100% russe.

Au Grand Théâtre de Provence, à Aix, un Esa-Pekka Salonen survolté a poussé dans ses retranchements l'excellent Philharmonia Orchestra, dans un programme fait de vagues et d'oiseaux. 

Truls Mørk impressionne par sa lecture sereine du Concerto pour violoncelle d'Elgar. Peu convaincant dans cette œuvre, David Zinman séduit davantage dans une interprétation emportée d'Une vie de héros, de Strauss.

On sort satisfait du concert donné par l'Orchestre de Paris ; mais difficile de se sentir transporté. L'ensemble est certes de bonne facture, mais, alors que Truls Mørk peine à s'accorder avec l'orchestre sur le ton à donner au Concerto de Dvořák, Andris Poga ne parvient guère à donner à la grandiose 5ème Symphonie de Prokofiev ses multiples visages. 

Vendredi 10 juin l’Orchestre Philharmonique de Radio France emmenait le public à l’Est de l’Europe avec la Symphonie concertante pour violoncelle et orchestre de Serge Prokofiev et le célèbre Concerto pour orchestre de Béla Bartók. Une soirée peut-être un peu trop sage, mais dirigé au pied levé par la talentueuse et prometteuse Marzena Diakun.

Un beau marathon de musique française avec, en sommet de côte, le splendide "Tout un monde lointain" d'Henri Dutilleux et le non moins solaire Truls Mørk ! En écho aux influences françaises, s'est glissé un petit suisse contemporain, entre quelques pas de danse raveliens et une ondulation debussiste... 

Markus Stenz ofreció al frente de la Sinfónica de Tenerife una personal y brillante visión de un programa puramente romántico.

Truls Mørk joins Tarmo Peltokoski and the Rotterdam Phil for a deeply emotional reading of Shostakovich’s Cello Concerto no. 2. 

Opening with those quintessential Romantics, Lord Byron and Manfred, Karina Canellakis’ LPO programme builds to a Bruckner 4 full of powerful forward momentum. 

Power of three: Finnish conductor Klaus Mäkelä makes his London debut in four works by a trio of composers... three of them in triptych form. 

Truls Mørk was cultured and intense in Dvořák’s Cello Concerto while Sir John Eliot Gardiner took the LSO through its paces in Suk’s emotional beast of a symphony.

Bookending a concert with Die Seejungfrau and La Mer, Klaus Mäkelä and the Swedish Radio Symphony Orchestra offered two very different musical depictions of water and the ocean.

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

Salonen's own Cello Concerto lay at the centre of the evening's programme, with Truls Mørk as soloist. 

Herbert Blomstedt returns to the Boston Symphony for a rewarding matinee program of Haydn and Brahms. 

Esa-Pekka Salonen brings the Baltic Sea Festival to an end in an eclectic, risk-taking programme of music by Biber, Beethoven and himself.

Krzysztof Urbański und die Münchner Philharmoniker präsentieren eine packende Interpretation von Schostakowitschs Fünfter Symphonie.

On its current concert tour in Switzerland, the Czech Philharmonic Orchestra treated audiences to a programme of works by two of its homeland's most illustrious composers.

Dutoit’s CSO program was highlighted by the US première of an intriguing discovery –Stravinsky’s long-lost Chant funèbre – complemented by Prokofiev and Dvořák with Truls Mørk.

The Oslo Philharmonic offers a spirited interpretation of fine nuance and a sense of grandeur and opulence in Rachmaninov's Second Symphony. 

A pair of Soviet Cold War classics featured in Pietari Inkinen's Budapest debut at Müpa. 

Die Bergener Philharmoniker und ihr Chefdirigent Edward Gardener überraschen in München mit einem interessanten Programm, das von Wagner über Elgar bis Berlioz reicht.

To celebrate their ten year partnership, Vasily Petrenko and the RLPO serve up a hearty Russian meal with a British-Italian hors d'oeuvre.  

Impressively, Principal Conductor Nézet-Séguin matched his predecessor, Valery Gergiev, with such high quality Russian repertoire. 

The Zurich Chamber Orchestra (ZKO) showed its fine colours this week with a triple bill of works for a string configuration. The programme included a stellar solo performance by the great Norwegian cellist, Truls Mørk.

Truls Mørk marvels with Dvořák's cello concerto in an evening that saw the Czech Philharmonic go from strength to strength in the hands of Jiří Bělohlávek.

La Orquesta Filarmónica Checa ofrece un concierto desigual. El sinfonismo de Richard Strauss fue la espoleta que hizo reaccionar a un público discretamente ensoñado.

Under the baton of Sir Andrew Davis the Melbourne Symphony Orchestra perform for the first time at the BBC Proms, with mixed results.

The last of the Philharmonia’s “Bohemian Legends” series paired an extremely familiar work – Dvořák’s Cello Concerto – with an extremely unfamiliar one: Josef Suk’s Asrael Symphony. In spite of some uneven orchestral playing, the concert showed off the best points of both works.

One of the key points underlying Southbank Centre’s epic festival The Rest is Noise is to place 20th-century music in its historical context, to show that this music – which might otherwise be considered intimidating – is more than just abstract sounds.

Nearing the end of Lincoln Center’s annual Mostly Mozart Festival – a name that rather allows for just about any programming whim – Friday night was a return to a composer who might more plausibly appear within the programs of a Mostly Beethoven or Mostly Bach festival, but whose presence here was due, one guesses, to his devotion to the concerto genre and to a certain formal elegance in his symph

There’s something heartwarming in stories of friends’ differences resolved. Hanuš Wihan had requested a cello concerto of Dvořák, who declined on the grounds that, although a fine orchestral instrument, the cello was not suited to the solo spotlight. The change of heart, occasioned by Victor Herbert’s Second Cello Concerto, is to all our benefits.

Continuing Woven Words, the Lutosławski festival, the Philharmonia Orchestra and Esa-Pekka Salonen presented us with another evening of impressive music and impressive programming. Like featuring Ravael’s Daphnis et Chloé in the Lutosławski concert on 30 January, opening this evening with Debussy’s La mer proved an excellent decision.La mer is a piece that heavily relies on interpretation.

Sometimes an eagerly awaited performance starts out brilliantly, more or less how you thought it would, but then it kind of fizzles out towards the middle, only to return with a vengeance at the end. This was more or less the case with Vasily Petrenko and the Oslo Philharmonic this Thursday.

A very interestingly programmed concert, this. Two Finnish and two English composers, all represented with pieces that to a greater or lesser extent are programmatic. First we heard Delius' "Walk to the Paradise Garden" from his opera A Village Romeo and Juliet (here arranged by David Lloyd-Jones).

There can be few more civilized ways to spend a Monday lunchtime than at a concert at the delightful Wigmore Hall, where one can escape the bustle of Oxford Street for an hour of quality chamber music.