En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Symphony no. 3

Nacho de Paz debutó al frente de la Orquestra de València en Ensems con un programa actual, interesante y bien trabajado.

Commendably fine playing from the LPO conducted by Thomas Adès, and with Kirill Gerstein as soloist, three less than familiar works throw up overwhelming volumes of energy.

La interpretación de Rattle cobró un relieve protagonista y fue ascendente, fraguando una tensión por acumulación -en ello se cifró su logro más encomiable- que se resolvería únicamente en el tramo postrero, a la manera de catarsis.

Jörg Widmann's wicked sense of humour starts proceedings before the clearest of Brahms readings, underpinned by extraordinary orchestral precision.

Sir Simon Rattle dirigiert bei diesem Abschiedskonzert Lutosławski, Brahms und Jörg Widmanns Tanz auf dem Vulkan.

Mitreißender Spannungsbogen bei Lutosławskis Dritter Symphonie mit dem Radio Filharmonisch Orkest unter Edward Gardner und auch Jean-Efflam Bavouzet glänzte in Bartóks Erstem Klavierkonzert.

An eclectic program under Esa-Pekka Salonen's baton, highlighted by Lutosławski’s watershed Third Symphony and a Shostakovich concerto with Yo-Yo Ma.

A night drawn mostly from a gentler range of sounds, some more familiar, some stranger. Esa-Pekka Salonen and the Philharmonia Orchestra London brought classics from Debussy and Ravel to the Philharmonie in Berlin, and paired them with two works by Lutosławski: the intricate and incredible Third Symphony, and Les espaces du sommeil, something between a monodrama and a song accompanied by orchestra

This concert was a triumph of smart programming, combining the third symphonies of Sibelius and Lutosławski, as well as works for soprano and orchestra by these composers – both modernists in their own ways. It was also an ambitious showcase for British soprano Lucy Crowe, who sparkled in every sense (her striking peacock-green dress, finished with gleaming gems, never threatened to upstage her).

While the connections between Brahms’ Piano Concerto no. 2 and Lutosławski’s Symphony no. 3 may appear tenuous at first, there is a beautiful symmetry here. In 1878, Brahms had finally started writing symphonies, and though the first was long in gestation the second and third followed fluidly.