En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Riccardo Muti

Le Chicago Symphony Orchestra et Riccardo Muti ont montré tout leur savoir-faire dans une soirée Wagner-Hindemith-Dvořák éclatante – quoique parfois clinquante.

Remplaçant Julia Fischer, Ye-Eun Choi a fait ses débuts parisiens en compagnie de l’Orchestre National de France. La jeune violoniste coréenne est sans doute l'une des artistes les plus accomplies de la génération de demain.

Programme avenant par l’Orchestre National de France, le pianiste David Fray, et l’illustre beau-père, Riccardo Muti, de retour au pupitre après une opération qui l’avait contraint à annuler plusieurs concerts. Le plus rare Aus Italien de Richard Strauss y succédait à un Concerto pour piano de Schumann d’honnête facture.

Des bravos fusaient déjà à l’entrée de Muti sur scène. Plongés dans un Oiseau de feu légendaire, fascinant, évident, puis littéralement soulevés par un bis patriotique chargé de sens et d'énergie, les spectateurs de Pleyel ne se remettront pas aisément de la venue du maestro.

Riccardo Muti and the Luigi Cherubini Youth Orchestra perform orchestral scores by Giuseppe Verdi, Giacomo Puccini and Giuseppe Martucci.

“Go big or go home” could easily have been the motto of this summer’s festival. Muti didn’t just go big. He went huge. 

Naples was the first Italian date for the conductor who is leading the CSO on a European tour which includes 10 concerts all over Europe.

A decade after Riccardo Muti was appointed CSO’s Music Director, the chemistry between conductor and ensemble couldn’t be more evident.

A sublime performance of Berlioz' La Mort de Cléopâtre by Joyce DiDonato, Riccardo Muti and the Chicago Symphony Orchestra overshadows the rest of a Rome-inspired concert at Carnegie Hall.

Riccardo Muti conducted a stirring performance of Verdi's Requiem to mark the 30th anniversary of Karajan's death.

As the culmination of Muti's Italian Opera Academy in Tokyo, the maestro conducted a model performance of selected excerpts from Rigoletto in the main hall of Tokyo Bunka Kaikan.

Riccardo Muti offers a non-interventionist approach in a concert showcasing a great orchestra on golden form.

Im traditionellen Konzert der Wiener Philharmonikern zu Ferragosto erhält Schumanns Zweite Symphonie unter Mutis Händen Charme und südliche Wärme.

Muti unlocks the immense dramatic potential of Verdi's revolutionary score, providing a wealth of colour and detail capable of conjuring mysterious Shakespearean worlds with no need for staging.

On their return to Sydney, the Australian World Orchestra under Riccardo Muti offer a subdued reading of Brahms’ Symphony no. 2 and a thrilling account of Tchaikovsky’s Symphony no. 4.

Riccardo Muti brought a Verdian quality to Brahms’ Second Symphony, adding a certain Italian volatility and declamatory grandeur to the music.

The Chicago Symphony make up for the loss of their city's other team earlier in the week, knocking one out of the ballpark in the heart of Los Angeles.

Muti's reading of the score is extraordinary, both for its sophistication and originality.

For the final week of the CSO season, Muti led a stirring program of operatic excerpts by Verdi, Puccini and Mascagni, along with a rarity by Boito.

Die Berliner Philharmoniker würdigen die 40-jährige Zusammenarbeit mit Anne-Sophie Mutter mit einem fulminaten Jubiläumskonzert unter Riccardo Muti.

The CSO’s season-long celebration of Prokofiev’s 125th birthday had its watershed moment with the composer’s monumental score to Ivan the Terrible.

The chemistry between Muti and the CSO continues to sizzle in a Rossini overture, a Mendelssohn symphony, and a Beethoven piano concerto with Yefim Bronfman.

Im Rahmen des noch andauernden Eröffnungsfestivals gastierte das Chicago Symphony Orchestra mit Tschaikowsky, der einen aus den Sitzen holt.

On the second leg of its current European tour, the Chicago Symphony Orchestra and Riccardo Muti fail to scale the heights in an acoustically problematic venue.

One day short of 125 years to the day, Muti presented the same program the CSO gave on their opening concert, with Daniil Trifonov as soloist in Tchaikovsky Piano Concerto no. 1.

Joyce DiDonato made her Chicago Symphony debut in a rarely heard song cycle of Giuseppe Martucci, while more familiar territory was to be found in Beethoven's Seventh Symphony.

Riccardo Muti inaugurated the Chicago Symphony's season with what they do best: two orchestral showpieces and a magisterial Bruckner symphony.

The Vienna Philharmonic may have loathed Bruckner in the past, but are today unparalleled interpreters of his music.

In the final weekend of season, Muti led the CSO in a divinely inspired Bruckner Ninth, fittingly paired with the Te Deum.

Riccardo Muti presented a serene program of Beethoven's Violin Concerto, with Julia Fischer, and Brahms’ Serenade no. 1.

The Chicago Symphony and Riccardo Muti celebrate Shakespeare's Anniversary.

A rare sighting of Muti and Mahler had stellar results in the bucolic Fourth Symphony, prefaced by two of Tchaikovsky's Shakespearean tone poems.

After being absent since December, music director Riccardo Muti returned to Chicago Symphony in a passionate account of the epic Roméo et Juliette by Berlioz.

Mixed results in the 20th century portion of the program are remedied with some very fine Beethoven playing. 

Familiar works of Mozart and Beethoven were paired with pieces by Hindemith and Prokofiev for an eclectic program. 

A successful night of flavorful pieces, including a harp concerto by Argentinian composer Alberto Ginastera. 

A stirring Pictures at an Exhibition makes for a memorable CSO gala.

The Chicago Symphony's season opener featured stellar performances of symphonies by Mozart and Beethoven and a rarely heard tone poem of Liszt.

Dass es nicht immer einer Inszenierung bedarf zeigte die konzertante Aufführung von Verdis Ernani unter leidenschaftlichem Dirigat von Riccardo Muti.

Anne-Sophie Mutter und Riccardo Muti boten dem Publikum zusammen mit den Wiener Philharmonikern aufregende Interpretationen altbekannter Werke bei den Salzburger Festspielen. 

In the final concert of Muti's winter residency with the Chicago Symphony Orchestra, he presented one of his most varied programs to date with repertoire spanning nearly two centuries. 

Riccardo Muti and the musicians of the Chicago Symphony Orchestra consecrated their weekend residency at Carnegie Hall on Friday night with two ocean-inspired works and a musical path toward becoming superhuman.

Riccardo Muti conducts Verdi's Requiem in Madrid and forever changes the lives of the audience that witnessed in astonishment.

CSO and Riccardo Muti première a newly commissioned piece by cellist Giovanni Sollima that features himself and Yo Yo Ma, with Schubert's Third and Fourth Symphonies also included.

According to Riccardo Muti in a recent interview for Chicago Classical Review, the cardinal sins of modern conductors when interpreting Verdi are over-aggression and vulgarity. He also notes in an interview included in the concert program that one of the most unique aspects of Macbeth is its use of expressively soft dynamics, even going as far to call the technique avant-garde.

Apart from the precious Quattro pezzi sacri, Verdi wrote very little sacred music until this Requiem, probably due to his agnosticism. When Alessandro Manzoni, one of the most important and admired Italian literary figures, died on the 22nd of May 1873, Verdi felt that something in the Italian cultural world had come to an end.

Riccardo Muti made a bold claim in a televised interview on Tuesday, ahead of his three-night stint opening the Carnegie Hall’s season.