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

Dans un programme « italien » qui associait la création française d'une œuvre de Glass à des partitions de Mendelssohn et Strauss, le chef et l'orchestre ont montré leur singularité.

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

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.

Peter Lieberson's Neruda Songs with the mezzo-soprano Joyce DiDonato teem with subtle brilliances. 

Jakub Hrůša leads the CSO in pedestrian Janáček and Rachmaninov, but Strauss's Four Last Songs and Wagner's Tristan excerpts send audiences home deeply touched.

The Chicago Symphony Orchestra's Music Director Designate juxtaposes his Finnish countryman's music on their shared national epic, the Kalevala, with the heroic life limned in the tone poem of Richard Strauss.

A strong world premiere of Aucoin's evocative and immediate Song of the Reappeared, a concerto for voice written for soprano Julia Bullock which sets vivid imagery by a poet who suffered under authoritarianism.

The Austrian conductor's loudest fortes and softest pianos pull together a dramatic arc from the Requiem, other Mozart works and chant. But it's not really a funeral. 

Without a baton, the contemporary-music specialist showcases the Chicago Symphony strings in an intimate program ranging from music of the last decade all the way back to Pergolesi. 

Three hands for two concertos: Alice Sara Ott joins the Chicago Symphony Orchestra for Ravel's Piano Concerto for the left hand and the Piano Concerto in G major.

Under Marin Alsop, the Chicago Symphony string players also offered a lyrical reading of Jessie Montgomery’s beguiling Strum.

Esteban Batallán, the Chicago Symphony Orchestra's top trumpet, plays piccolo trumpet concertos by Telemann and Michael Haydn with the home team, under former CSO music director Riccardo Muti.

With Jaap van Zweden on the podium, the Chicago Symphony Orchestra makes a memorable festival debut, offering a fresh take on a high-powered classic.

The Chicago Symphony Orchestra and its future Music Director revel in a Brahms piano concerto with ideal collaborator Daniil Trifonov and an energetic Dvořák 7. 

The Chicago Symphony Orchestra's Music Director Designate, still two years from taking charge, shows himself in command of the whole toolbox available from a great Mahler orchestra. 

The Finnish conductor drove the orchestra as expertly as a racing champion in Strauss, Bartók and Salonen's own Sinfonia concertante for Organ and Orchestra.

Janowski anchors his Chicago Symphony program with Bruckner’s Third, prefacing with music of Weber and Liszt.

In its Chicago Symphony Orchestra debut, Bell's commission for an all-star lineup of composers boasts some virtuosic violin playing and a shared aesthetic, but not a throughline.

The 37-year-old Hong Kong native brings her calling card, Rimsky-Korsakov's Scheherazade, to colorful life during a conducting tour through the United States. 

Riccardo Muti, Chicagos Music Director Emeritus auf Lebenszeit, präsentiert in der Alten Oper Frankfurt ein italienisches Programm, das es in sich hat.

The Finnish conductor values attention to detail across three disparate 20th-century pieces, highlighting the uniform strength of the Chicago musicians.

The CSO's newly minted Music Director Emeritus for Life conducts a programme of Italian-themed works at Carnegie Hall. 

Riccardo Muti selects Beethoven’s daunting Missa solemnis for his final performance as Music Director of the Chicago Symphony, a performance that proves worthy of his remarkable tenure.

Jurowski and Martin Helmchen underline how much Mozart's Piano Concerto no. 25 in C major looks forward to the “Jupiter” Symphony and to Beethoven. 

Musicians from the Chicago Symphony showed their mettle as chamber players in a Mozart serenade and a Brahms sextet.

Contrasting Gounod, Mozart and Ravel works were combined into an exhilarating package of technical virtuosity and musical finesse.

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.

Showcases of pure virtuosity by Denis Matsuev and the Chicago Symphony Orchestra, under Leonard Slatkin, in performances of both Rachmaninov’s Third Piano Concerto and Rimsky-Korsakov’s Scheherazade at Ravinia.

Dame Mitsuko Uchida again brought out her outstanding musicality and special charisma in Bartók’s Third Piano Concerto.

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.

Celebrating its 60th anniversary, the Chicago Symphony Chorus made this evening truly distinctive.

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.

A new score by Melinda Wagner, concertante pieces for saxophone and orchestra with Branford Marsalis, and works of Bizet and Debussy comprised Susanna Mälkki’s CSO program, intriguing in its eclecticism.

Juraj Valčuha’s CSO debut was an evening of diverse repertoire, from Haydn to Strauss (both Johann II and Richard) to Szymanowski, the latter featuring a memorable performance by Christian Tetzlaff.

Jesús López-Cobos returned to the CSO with works of Turina and Dvořák flanking Gershwin’s Concerto in F with Inon Barnatan.

CSO concertmaster Robert Chen took the spotlight in two 20th-century works with Neeme Järvi conducting; anchoring the program was Beethoven’s Pastoral.

A religious-themed program made for a particularly moving Easter weekend concert from Dutoit and the CSO, highlighted by the serenity of Fauré’s Requiem.

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.

James Conlon led the CSO in Schubert’s Unfinished symphony and Mahler’s Das Lied von der Lied.  Mixed fortunes were had for the singers in the latter, but Conlon and the orchestra provided probing performances throughout.

Esa-Pekka Salonen’s Cello Concerto received a successful world première with Yo-Yo Ma and the Chicago Symphony, the composer conducting, richly complemented by works of Adams and Stravinsky.

Esa-Pekka Salonen’s colorful program included the first Chicago performance of John Adams’ Scheherazade.2 with dedicatee Leila Josefowicz, along with works of Debussy and Stravinsky.

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.

Conductor and violinist Fabio Biondi led the CSO in works of Corelli and Vivaldi, while Vivica Genaux served as an impressive soloist in a selection of Baroque arias.

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