Rechercher des critiques de musique classique, opéra et ballet | Symphonie no. 39 en mi bémol majeur, K543

À la tête de la Staatskapelle de Dresde, phalange spécialiste de la musique mozartienne, Philippe Herreweghe fait merveille dans les trois ultimes symphonies de Mozart... malgré la chute (sans gravité) d'un hautbois. 

L'Ensemble Pygmalion et son chef Raphaël Pichon sont réunis au Théâtre de l'Archevêché dans un programme 100% Mozart, où l'on retrouve avec plaisir la force dramatique de ses dernières symphonies. 

Estupendo concierto el ofrecido por el pianista Javier Perianes y Juanjo Mena en el Auditorio de Zaragoza, donde el onubense puso las pinceladas románticas en un exquisita lectura del Cuarto de Beethoven, mientras el vitoriano brindaba un Mozart clásico muy bien trazado.

François-Xavier Roth und Les Siècles brechen Hörgewohnheiten auf und bereiten den Weg zu neuen Konzertformen.

Imogen Cooper shone in Aurora's serious and fulsome performances of Mozart.

Mozart's final three symphonies make for a brilliant opening to the Australian Chamber Orchestra's London residency. 

Con un interesantísimo programa conformado únicamente por obras de Mozart, La Orquesta Filarmónica Nacional de Hungría se presentó en Madrid con János Kovács al frente. El tributo mozartiano convocó al Cor Madrigal para la interpretación del monumental e incoparable Réquiem, con el que se cerró una magnífica celebración del genial compositor.

Unter der Leitung von Clemens Schuldt präsentiert das Kammerorchester ein abwechslungsreiches Programm von Mozart bis Adès.

Herbert Blomstedt und das NDR Elbphilharmonie Orchester gastierten mit Mozart und Bruckners Dritten Symphonie in der Hamburger Elbphilharmonie.

When news of the discovery of Stravinsky's Funeral Song reached the classical music world, a near-revolution of excitement took place.

Welches Werk spielt man vor Mozarts Requiem? Ivan Fischer und das Konzerthausorchester haben mit Mozarts Symphonie in Es-Dur an diesem Abend eine hervorragende Lösung gefunden. 

Nachdem Norrington und das ZKO mit Mozart-Symphonien in Zürich Maßstäbe gesetzt haben, durfte man gespannt sein, wie die lokale Konkurrenz im Vergleich abschneiden würde.

En el abigarrado e inquietante flujo de timbres y cadencias orquestales que conforman el primer movimiento Rossinskij exhibe un innegable talento de orquestador.

The Doors of Perception swung wide at Symphony Hall as Charles Dutoit led the Boston Symphony in an unusual and engrossing pairing of Mozart’s boisterous, Haydenesque Symphony no. 39 in E flat, K543, and Bartók’s one-act opera, Duke Bluebeard’s Castle,

A high-level concert with some interesting choices of interpretation – sometimes fascinating, sometimes a bit too bold.

Le Cercle d'Harmonie with their founder Jérémie Rhorer fail to convince in symphonies by Mozart and Mendelssohn, whereas the Italian soprano Rosa Feola triumphs in two concert arias.

Con David Greilsammer como invitado doble, director y pianista, la OSN nos ofreció un programa cien por cien Mozart, una interesante propuesta que combinó elementos de la tradición con algunas referencias a la interpretación histórica y un toque contemporáneo.

Conducting entirely from memory, Herbert Blomstedt and the Philharmonia gave a rousing performance of Bruckner's Fourth and Mozart's 39th.

Sir John Eliot Gardiner conducts the English Baroque Soloists through three Mozart Symphonies in one evening, educating along the way.

Great chemistry between conductor (and violinist, and violist!) Pinchas Zukerman and the CSO leads to joyful performances.

Combining instruments and performing practices old and new, Richard Tognetti and the Australian Chamber Orchestra render Mozart symphonies with panache.

A Mozart symphony in the second half of this Houston Symphony concert could hardly compete with Augustin Hadelich playing Bartók. 

Richard Strauss' Alpensinfonie im Großen Festspielhaus fährt mit Bild- und Tongewalt auf. Die Sinfonie, zu der gleichzeitig eine Foto-Strecke läuft, lädt optisch und akustisch zum Träumen ein.

A satisfying, but uninvolving, evening of familiar and well-loved Mozart symphonies. 

Who could ask for anything more – Ignat Solzhenitsyn joined the Toronto Symphony Orchestra for a concert of Mozart, featuring the 39th Symphony and the 18th Piano Concerto, which Solzhenitsyn conducted from the keyboard.

Arthur Rimbaud’s prose poems Les Illuminations are strange fragments of visions that can mean anything or nothing, depending on the attitude of the reader.

Fifteen years ago I sat dutifully listening to the excellent Haringey Schools Orchestra nobly attempting to bring off the herculean musical feat of the Shostakovich Fifth Symphony. Many hours of coaching and rehearsal had clearly brought the youngsters to this point. Proud parents and friends fidgeted through the painful 55 minutes, and everyone clapped appreciatively when it ended.

New York’s Mostly Mozart Festival continued Friday evening with three works, all marvelous and presented in reverse-chronological order. After Witold Lutosławski’s Muzyka żałobna, the orchestra and conductor Louis Langrée were joined by French pianist Jean-Efflam Bavouzet for Bartók’s Piano Concerto no. 3, and the concert concluded with Mozart’s Symphony no. 39 in E flat major.

The Violons du Roy along with conductor Bernard Labadie offered a concert of Mozart’s last three symphonies tonight in the Maison Symphonique de Montréal. An apt program, these three symphonies were written by Mozart in rapid succession in the summer of 1788. Mozart’s fabled swiftness as a composer, and the relative ease with which he wrote, did not lead to mediocrity in any of his works.

Münchener Symphoniker is one of four professional symphony orchestras based in Munich, and although perhaps less well known than the Philharmoniker or the Bavarian Radio Symphony Orchestra, they are able to hold their own amidst the stiff competition.

The Stern Auditorium at Carnegie Hall is enough to catch anyone’s breath. But it wasn’t the grandeur of the hall that struck me; it was the fact that the conductor’s podium was missing from the stage. A bold statement: it was clear Sir Roger Norrington was going to conduct the Orchestra of St. Luke’s his own way.Kicking off the evening’s performance was Haydn’s Symphony no. 39 in G minor.