En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Boston Symphony Orchestra

Dans un programme qui associait le jazz de Gershwin à la Cinquième Symphonie de Prokofiev, le chef, l'orchestre et le soliste invité ont brillé par leur capacité à proposer une interprétation singulière des œuvres.

Un des meilleurs orchestres américains, la fougue toujours plus maîtrisée d'un des chefs les plus appréciés du public parisien, et l'impeccable Susan Graham, dans la Troisième Symphonie de Mahler à la Philharmonie de Paris.

L’affluence était celle des grands soirs en ce 3 septembre pour le début de la saison symphonique à la Philharmonie de Paris. Au programme, deux classiques du répertoire, le « Don Quichotte » de Richard Strauss et la dixième symphonie de Chostakovitch par l’orchestre symphonique de Boston et son jeune et brillant directeur, Andris Nelsons.

2025 Chopin Competition laureate and Massachusetts native Eric Lu makes his debut at the Boston Symphony Orchestra’s summer home in the Berkshires. 

Seong-Jin Cho, Andris Nelsons and the Boston Symphony bring refinement, dramatic cohesion and a touch of ballet to an all-Tchaikovsky gala.

As the United States marks its 250th anniversary, the Boston Symphony presents a program dedicated to Abraham Lincoln, including the belated world premiere of Philip Glass’ Symphony no. 15. 

Andrey Boreyko makes an impressive debut with the Boston Symphony, where Evgeny Kissin performs in not one, but two piano concertos. 

In his first New York appearance since the termination of his contract as BSO Music Director, Nelsons courts public sympathy and makes some thrilling music.

Herbert Blomstedt demonstrates the “singability” of Brahms in his latest appearance with the Boston Symphony, concluding with the autumnal glow of the Fourth Symphony.

In celebration of the 125th anniversary of Symphony Hall, Andris Nelsons returns to the work that opened the venue on 15th October 1900.

Andris Nelsons celebrates Symphony Hall’s 125th anniversary with two works contemporaneous to the hall’s first season: Debussy’s Nocturnes and Mahler’s Symphony no. 4 (both premiered in 1901). 

The season-ending performance of Beethoven's Ninth Symphony loses its intended conductor but remains enjoyable, if somewhat under-rehearsed. 

The guest conductor pairs Holst's perennial crowd pleaser with Poulenc's Gloria, a work deeply associated with the Boston Symphony Orchestra.

Two Camille’s anchor the first half of Samy Rachid’s Tanglewood program: Saint-Saëns and Pépin. 

With Andris Nelsons heading off to European festival commitments, the Boston Symphony continues its Tanglewood season with a series of guest conductors. 

John Williams' new concerto evokes the spirit of jazz virtuosos, paying tribute to Art Tatum, Bill Evans and Oscar Peterson. 

Andris Nelsons shapes a Tanglewood evening of introspective reflections featuring music from Bach to Mahler.

Textures, tensions and transformations across musical perspectives imbue the Tanglewood programme Thomas Adès inherited from Esa-Pekka Salonen. 

From Rachmaninov's Third Concerto to the Symphonic Dances, a programme of emotional depth and orchestral virtuosity to open this year's Tanglewood Festival. 

The combined forces of the Gewandhaus and Boston Symphony unite under Andris Nelsons for a searing Leningrad Symphony, while the Quatuor Danel tackles the string quartets. 

Two incongruent journeys conclude as Dame Mitsuko Uchida and the Boston Symphony meet in New York. 

Late-career works by Lyadov, Bartók and Rachmaninov dominated the program, which featured Inon Barnatan as piano soloist.

Herbert Blomstedt returns to Symphony Hall to answer the question Schubert reportedly asked himself in his teens, “Who can do anything after Beethoven?”

The composer's magnum opus, unjustly neglected in English-speaking countries, receives magnificent treatment from Andris Nelsons and the Boston Symphony Orchestra, anchored by David Butt Philip and Christine Goerke.

Nelsons stresses refined dynamics, rhythmic drive, balance and contrast as he closes the Beethoven Festival in style. 

Andris Nelsons launches a Beethoven cycle with riveting performances of the first two symphonies. 

The Boston Symphony's final concert of 2024 is marked by appearance of the two conducting fellows from this summer’s Tanglewood Music Center, Ross Jamie Collins and Na’zir McFadden. 

Pappano leads a masterful program of protean compositions by Hannah Kendall, Strauss and Liszt, joined by Jean-Yves Thibaudet. 

A well thought-out, fearless, affirmation of hope which drew its listeners ever upwards into the realm of ecstasy.

Karina Canellakis conducts a Franco-Prussian program featuring Beethoven and Brahms in the first half, Chausson and Ravel in the second. 

In his debut with the Boston Symphony Orchestra, Gaffigan threads the needle between innocence and irony in Mahler's great work, ably supported by soprano Elena Villalón.

At Tanglewood, Dalia Stasevska pairs Sibelius and Stravinsky via a rarely heard orchestration of the former by the latter. 

Blurring boundaries: Romanticism and Modernism in Kirill Gerstein and Alan Gilbert’s Boston Symphony performances at Tanglewood. 

The closing concert for the triple anniversary of Serge Koussevitzky and the BSO takes a fittingly ritualistic turn.

A star-is-born performance from the young American bass David Leigh anchors a thrilling performance of the Ring cycle's dramatic conclusion.

A new leader takes over that BSO's concertmaster chair that Malcolm Lowe occupied with distinction for more than three decades

Renée Fleming makes a worthy return to the Marschallin, but this all-Strauss program, led by Andris Nelsons, is more notable for its deficits.

Sensory overload? Color takes centre-stage in Scriabin's synaesthetic Poem of Fire and Anna Clyne's Color Field. 

Before the planned program of Bartók and Haydn, the Boston Symphony Orchestra and conductor Karina Canellakis honor Seiji Ozawa with Bach's Air on a G String. 

Andris Nelsons brings his Shostakovich project to a close in Boston with an incandescent performance of Lady Macbeth of Mtsensk. 

Seong-Jin Cho is the scampering left-hand soloist in Ravel's “Gershwin meets Boléro” concerto. 

Andris Nelsons und Anne-Sophie Mutter sorgen bei den Salzburger Festspielen für einen gewaltigen Klangrausch.

Stravinsky's Petrushka and Gershwin's Piano Concerto take centre-stage in the BSO's second Prom of the weekend at the start of their European tour. 

Andris Nelsons and the Boston Symphony bring opulent Strauss and soft-focussed Prokofiev to the BBC Proms to kick off their European tour. 

The Boston Symphony Orchestra meet the virtuosic demands of Bartók's Concerto for Orchestra with impressive ease; Mozart's Piano Concerto no. 9 is played with skill and accuracy by Seong-Jin Cho.

With the audience increasingly familiar with John Williams' Second Violin Concerto, its architecture and emotion become much clearer than at its 2021 premiere.

In her final appearance as the Boston Symphony Orchestra’s Assistant Conductor, Anna Ratikina leads a fine programme of Prokofiev, Paganini and Ellen Reid.

Substitute contralto Avery Amerau makes a fine Boston Symphony Orchestra debut in a top notch evening of (mostly) French music.