En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Hannu Lintu

Si la mise en scène de Willy Decker accuse son âge dans une production inégale, l'œuvre de Wagner bénéficie de l'incarnation parfaite de Ricarda Merbeth et de la direction inspirée d'Hannu Lintu.

C’est à une soirée beethovénienne que le public genevois fut convié, et malheureusement les entrées concertantes ne furent pas au niveau du plat de résistance… 

Kullervo opens the 26th Sibelius Festival in Lahti, but the new edition brings a big change: not all the music will is by Sibelius! 

Musikalisch herausragend, szenisch wie in einem Rahmen eingeengt: die Neuinszenierung von Debussys Pelléas et Mélisande in München bescherte insbesondere makellose orchestrale wie stimmliche Erlebnisse.

Malofeev combines a caressing lyricism, never exaggerated, with glittering percussive accuracy in Prokofiev's Third Piano Concerto. 

Hannu Lintu conducts the BBC Symphony Orchestra in an epic symphonic programme at Snape Maltings. 

“If you enjoy it... we are doing something horribly wrong”... ominous words to launch the Netherlands Philharmonic Orchestra's season finale at the Concertgebouw. 

Stravinsky and Bartók rarities were the genesis of a superb concert program in Montreal with Finnish conductor Hannu Lintu.

Nothing quite ordinary or indeed comforting here, the heavy mixture of acid colouring in Lindberg, Ustvolskaya and Stravinsky not tempered by any opulence in Rachmaninov.

The Finnish conductor paired works by compatriots Jean Sibelius and Kaija Saariaho with interesting, offbeat selections from Stravinsky and Bartók.

Guest Conductor Hannu Lintu makes an auspicious Atlanta Symphony debut conducting Sibelius, Korngold and Higdon. 

Christof Loy ist eine glaubhafte psychologische Durchdringung der Handlung und ihrer Protagonisten gelungen, die in jeder Sekunde aus der Musik heraus empfunden ist.

A fuel-filled programme from the London Philharmonic under Hannu Lintu in Nielsen and Mahler, while Lawrence Power exudes contemporary flair in Brett Dean’s Viola Concerto.

A boldly curated programme, showcasing two ambitious orchestral works premiered during the last two years, proved to be a most stimulating evening. 

Pastoral repose and granitic grandeur in an awe-inspiring performance of Sibelius' Second Symphony. 

Bartók's Concerto for Orchestra – premiered by the BSO under Serge Koussevitzky and a familiar calling card ever since – opens the new season.

El ritmo palpita y atraviesa Elephant Skin, de Jesús Rueda, el Concierto para violonchelo y orquesta núm. 1, de Martinů, y la Sinfonía núm. 5, de Tchaikovsky, conformando un crisol estimulante y variado, que aboca al intérprete a una atención y versatilidad extremas. Este era el reto que acometían Lintu y su Orquesta Sinfónica de la Radio Finlandesa, en colaboración con, sin duda, una de las mejores chelistas de los últimos tiempos: Sol Gabetta.

Kari Heiskanen's questionable production of Sallinen's bleak opera is revived with a superb cast under the nuanced baton of Hannu Lintu.

Limpísimos agudos que cortaban el aire, pizzicati precisos y resonantes y un fraseo refinado, convirtieron la escucha de estas piezas en el equivalente a encapsular una sinfonía mahleriana en diez minutos de música.

Das Finnische Radio-Sinfonieorchester unter Hannu Lintu beginnt seine Tournee mit einer österreichischen Erstaufführung.

It is often said of British orchestras that their sound lacks the visceral, characterful edge of their colleagues on the continent.

Beethoven, Mozart, Angela Hewitt are all much loved names in the world of classical music. The promise of a Mozart piano concerto played by Angela Hewitt and a Beethoven symphony is enough to whet any music lover’s appetite. However, as in so many Sydney Symphony concerts, there was another work thrown in, which one could have been forgiven for glossing over in the evening’s publicity.

Finnish conductor Hannu Lintu made a big impression in his début with the Dallas Symphony Orchestra in a colorful program of Ravel, Chopin, and Stravinsky – Le Tombeau de Couperin , the Piano Concerto no. 2 in F Minor, Op. 21, and Petrushka, respectively.