Rechercher des critiques de musique classique, opéra et ballet | Concerto pour violoncelle en si mineur, Op. 104

Quatrième épisode de la saison de l'Orchestre de Paris : la baguette rigoureuse de Susanna Mälkki produit un résultat mitigé. Edgar Moreau fait étalage de ses qualités dans le concerto de Dvořák.

Placé sous le signe des célébrations du centenaire de l'indépendance du pays, le festival « Les touches tchèques de la musique » s'est achevé ce dimanche sur un concert mettant à l'honneur la violoncelliste Camille Thomas.

Le Festival d’Été de Dubrovnik a eu le courage de maintenir un concert qui coïncidait avec un match décisif de leur équipe nationale. Une soirée mémorable.

En compagnie de l'Orchestre de Paris et de Jean-Guihen Queyras, le chef britannique proposait un programme des plus passionnants au public parisien.

L’Orchestre de la Suisse Romande en grande forme sous la direction de Jonathan Nott qui éblouit dans une Vie de Héros de Richard Strauss, et dirige d’une main solide et néanmoins sensible deux solistes de haut vol : le violoncelliste Xavier Phillips et le violoniste Svetlin Roussev, tous deux éblouissants. 

L’Orchestre Symphonique National de la Rai et son chef, James Conlon, ont occupé la scène de l’Auditorium Parco della Musica pour une soirée entièrement dédiée au compositeur tchèque Antonín Dvořák.

Orchestre Philharmonique de Vienne et Andris Nelsons : après un Concerto pour violoncelle de Dvořák dont on ne ressent que difficilement la ferveur organique, la Pastorale de Beethoven vole très haut au-dessus des vallées pittoresques.

On sort satisfait du concert donné par l'Orchestre de Paris ; mais difficile de se sentir transporté. L'ensemble est certes de bonne facture, mais, alors que Truls Mørk peine à s'accorder avec l'orchestre sur le ton à donner au Concerto de Dvořák, Andris Poga ne parvient guère à donner à la grandiose 5ème Symphonie de Prokofiev ses multiples visages. 

L’orchestre et le chœur de l’Accademia Nazionale di Santa Cecilia  proposait un concert éclectique réunissant compositeurs du Centre et de l'Est européens.

The Czech Philharmonic, in tremendous form, still play their core repertoire with unaffected naturalness.

Truls Mørk was cultured and intense in Dvořák’s Cello Concerto while Sir John Eliot Gardiner took the LSO through its paces in Suk’s emotional beast of a symphony.

For the composer's birthday, a mismatch of performers and repertoire.

In Estonia's summer capital of Pärnu, holiday spirits and family pride abound in the EFO's first concert of Paavo Järvi's festival. 

The young French cellist says he can't sing. But that didn't stop him producing a great cantabile performance for Dvořák's great crowd-pleaser.

Andrei Ioniţă proved to be an ideal interpreter of Dvorak's Cello Concerto in a concert that also included a magnificent performance of Martinů's Fourth Symphony.

Roth's exploration of the roots of musical modernism takes the LSO from Debussy to Strauss via Dvořák's Cello Concerto.

Bezauberndes spielt das recreation – Großes Orchester Graz im Stefaniensaal, unterstützt vom Solisten Andrei Ioniță.

Das Orchester verdient für dieses Programm, das den Bogen von Beethoven über Dvořák zu Skalkottas und Ravel spannt, eine Goldmedaille.

The Lucerne Festival audience recently celebrated a superb solo performance by cellist Kian Soltani, the 2018 winner of the annual Credit Suisse Young Artist Award, who played with the Vienna Philharmonic.

Evocative Smyth and impressively detailed Strauss from Tausk, and warm Dvořák with soulful playing from Daniel Müller-Schott.

Krzysztof Urbański und die Münchner Philharmoniker präsentieren eine packende Interpretation von Schostakowitschs Fünfter Symphonie.

Tomáš Netopil directs ideal, ‘non-dairy’ performances of Mozart and Dvořák.

In performing the three late masterpieces by Dvořák, Järvi found different ways to triumph. 

Jan Vogler wirkte wenig überzeugend in Dvořáks Cellokonzert. Dafür brillierte die Philharmonia Zürich unter Fabio Luisi in Bruckners Vierter umso mehr, und die Theaterakustik unterstützte die Einzigartigkeit der Darbietung.

On its current concert tour in Switzerland, the Czech Philharmonic Orchestra treated audiences to a programme of works by two of its homeland's most illustrious composers.

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.

While passion, supreme technical mastery, and inspiration all come to mind watching a celebrity like Ma perform, camaraderie, perhaps, is the best word for this concert.

A fantiastic walk through Bohemia guided by the PKF Prague Philharmonia conducted by Emmanuel Villaume, with an excellent performance from Gautier Capuçon.

The Hong Kong Philharmonic's concert this weekend featured two long works by composers who were contemporaries and who struck up a friendship late in their career.

The RSNO’s latest concert was entitled “Dvořák Cello Concerto”, but it was Thomas Søndergård's brilliant direction of Shostakovich's Fifth Symphony which proved the highlight. 

An impressive performance from cellist Natalie Clein in Dvořák’s Cello Concerto did much to alleviate the woes of the real world.

The Israel Camerata Jerusalem Orchestra makes its Sydney debut in Dvořák, Koptyman and some rather old-fashioned Haydn. 

Charles Dutoit and the Royal Philharmonic Orchestra are the stars in a demanding programme of Dvořák and Bartók.

The Hallé’s end-of-season Dvořák festival continued with the Seventh Symphony, Cello Concerto and Slavonic Dance no. 2 from the Op.72 set. 

A globetrotting programme from Dutoit and the RPO that whisked us from Rome's fountains to St Petersburg's Shrovetide Fair via Bohemia's woods and fields. 

Barcelona's L'Auditori was taken on a journey of contrasts, via Parra and Prokofiev, that unsettled as much as it delighted. 

Even before Müller-Schott struck his first note in Antonín Dvořák’s great Cello Concerto in B minor, the Zurich audience was stunned by an unusual visual: the instrument itself.

Das junge Orchester konnte zwar nicht immer mit seiner Solistin mithalten, erntete aber viel Respekt vor so viel Talent und Können.

Two individually strong musical components met in this Czech field trip, but will they connect to form something new?

Two mainstays of the repertory, in sensitive performances by artists from Armenia and Costa Rica, to round-off the LPO concert season.

Mit Dvořák und Strauss gaben Valery Gergiev und die Münchner Philharmoniker dem Münchner Publikum einen Vorgeschmack auf die kommende Saison und gedachten gleichzeitig Lorin Maazel an dessen 85. Geburtstag.

Truls Mørk marvels with Dvořák's cello concerto in an evening that saw the Czech Philharmonic go from strength to strength in the hands of Jiří Bělohlávek.

Opportunity planted the young Krzysztof Urbański on the Avery Fisher Hall podium in Dohnányi’s place, and occasion was right for his New York Philharmonic debut as he was joined by cellist Alisa Weilerstein for a satisfying night of Dvořák.

A superb account of Dvořák's Cello Concerto from Alisa Weilerstein outshone Beethoven's Symphony No. 7 under Jiri Bĕlohlávek's baton at the Proms

While people gathered near big screens at the Museum Square to see the Dutch football team play, metres along the road another crowd gathered to hear the Gelders Orchestra play Dvořák's Cello Concerto and Ninth Symphony.

Steven Isserlis' passionate and improvisatory reading of Dvořák’s Cello Concerto served as the saving grace for the otherwise lacklustre programme.

The last of the Philharmonia’s “Bohemian Legends” series paired an extremely familiar work – Dvořák’s Cello Concerto – with an extremely unfamiliar one: Josef Suk’s Asrael Symphony. In spite of some uneven orchestral playing, the concert showed off the best points of both works.

James Levine and the Met Orchestra travel a few blocks south to Carnegie Hall, to perform a program of works by Antonin Dvořák.

An excellent Dvořák Cello Concerto with István Várdai and some stirring Mendelssohn from the Istanbul State Symphony Orchestra

The Australian Chamber Orchestra is undoubtedly one of the nation’s strongest classical music “brands”, although trying to pin down the forces that make up this protean ensemble is difficult.