En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Symphonie no. 38 en ré majeur, «Prague», K504

Après un Château de Barbe-Bleue remarquable, le VFCO a fêté ses 20 ans dans un concert-surprise joyeux et tourné vers l'avenir, avec quelques invités inattendus...

Sous la direction peu investie de Franz Welser-Möst, l'orchestre viennois montre la qualité de ses pupitres mais finit par lasser, aussi bien dans la Symphonie n° 38 de Mozart que dans la « Pathétique » de Tchaïkovski.

Pour son baptême du feu avec la formation berlinoise, le jeune pianiste et chef russe a marqué les esprits, de même que Sabine Devieilhe dans un programme 100% mozartien.

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. 

Sous la direction énergique de Simone Young, les Lausannois ont offert un Mozart jubilatoire et un Stravinsky plein de charme. Quant à Hummel, il aura mis en valeur un Nils Mönkemeyer virtuose.

il existe d’autres conceptions de la Pastorale, mais la conviction avec laquelle Nézet-Séguin et l'Orchestre de Chambre ont imposé la leur à la Philharmonie faisait taire toute objection de principe.

Expressive Ralph Vaughan Williams, followed by operatic Mozart and Beethoven, brings brief warmth to an October evening in Manchester.

Die Wiener Philharmoniker und Franz Welser-Möst überzeugten zwar mit Eleganz und Klangschönheit, doch wirkliche emotionale Tiefen blieben aus.

Welser-Möst and the Vienna Philharmonic give a masterclass in virtuosic elegance in Mozrt, but lack edge and passion in Tchaikovsky's Pathétique. 

Nach einer recht klassisch musizierten Mozart-Symphonie überraschen Franz Welser-Möst und die Wiener Philharmoniker mit einer Pathétique, die so konsequent wie kompromisslos brodelt und mitreißt.

Con la directora invitada Simone Young, la Orquesta y Coro Nacionales vibraron en un programa bipartito, del que se destiló un intenso sentido dramático.

Nikolaj Szeps-Znaider appears both as soloist and conductor on his first appearance with the Singapore Symphony since 1997. 

Gemma New makes a positive impressive in the Mostly Mozart Festival Orchestra's lively rendition of the “Prague” Symphony. 

Conducted by Oksana Lyniv, a quartet of Ukrainian artists bring the fire of the front lines to the Rudolfinum, Prague. 

Talentierter Pultshow-Dirigent, fabelhafter Klarinettist und bestechend brillantes Orchester erinnern an die Erfolge und freigeistig-geniehaften Charaktere von Komponist und Solist.

Igor Levit und Welser-Möst bringen mit dem BRSO Werke von Beethoven und Mozart auf die Bühne. Wirklich mitreißen können sie allerdings nicht.

Thomas Zehetmair plays Beethoven's sole violin concerto in Seattle before conducting lively Mozart with a Bohemian flavour. 

Eleven conductors get to strut their stuff in an eclectic programme in Pärnu. 

Harry Bicket’s Mozart program traversed a sampling of the composer’s works in various forms, including the Prague Symphony and Exsultate, jubilate with Kiera Duffy.

Haitinks Karriere umfasst 65 Jahre. Kurz vor seinem 90. Geburtstag zeigte er mit Werken von Mozart und Mahler, dass er noch immer als Meisterdirigent und -interpret gilt.

Franz Peter Zimmermann fue el protagonista central con su vibrante y personal interpretación del Concierto para violín de Mendelssohn eje de la velada junto a las sinfonías Praga de Mozart y la de "tres movimientos" de Stravinsky.

The Orchestra of the Age of Enlightenment stalked the “Corridors of Power” in Prague and Esterházy for a fabulous evening of Classical drama. 

Runnicles presents a concert weighted towards a splendid second half.

Haitink gab dem Englischhorn Gelegenheit die Kantilenen aufblühen zu lassen, während Gerhaher seinen allzu kurzen Auftritt in leisesten Tönen – Eindringlichkeit im sotto voce – jenseitig und immens berührend beschloss.

Conducting the Chamber Orchestra of Europe and accompanying Isabelle Faust in Mozart's G major concerto, Bernard Haitink stresses classical proportions in two symphonies by Mozart and Schumann.

A fascinating first-half juxtaposition of Enescu and Bartók is followed by a strangely unconvincing take on Mozart's “Prague” Symphony.

Symphonies of Mozart and Beethoven bookended a Mozart horn concerto featuring CSO principal Daniel Gingrich.

Debuts all round: pianist Igor Levit in Beethoven 5, and a debut of Czech composer's Martinu's Symphony no 6. 

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

Stavanger Symfoniorkester se presenta por primera vez en Ibermúsica con Fabio Biondi a su cargo. El italiano, a doble título de concertino y director, presenta un repertorio clásico, acompañado por el Coro de la Comunidad de Madrid.

As a pianist, Mustonen failed to deliver as would have been hoped, though as a conductor his rapport with the orchestra bore delightful results.

Whooping horns, a single yellow rose and a velvety cushion of strings set the scene for a sumptuous tranche of highlights from Der Rosenkavalier in the London Symphony Orchestra’s latest concert commemorating Richard Strauss in his 150th anniversary year.

Rolando Villazón and kammerorchesterbasel failed to impress in a programme of Mozart's concert arias for tenor.

The violinist James Ehens brings his masterful Bartók back to Seattle in a program conducted by André de Ridder, who makes his Seattle Symphony debut.

Andrés Orozco-Estrada has been feted as “a brilliant stand-in”, having replaced a number of more well-known conductors at short notice in Vienna, where he studied his craft. He is now the music director of the Tonkünstler Orchestra in Vienna having made an all-important career breakthrough.The Colombian was no stand-in for this concert, however.

In their latest set of concerts, the Mostly Mozart Festival on Tuesday presented two works: one largely unknown, the other among the most beloved in the standard repertoire. The first, Luciano Berio’s 1989 Rendering, is fragmented and open-ended. The second, Beethoven’s Piano Concerto no. 5, “Emperor”, about as solid and decisive as they come.

This year’s Mostly Mozart Festival at Lincoln Center opened on Tuesday evening and, to put it encouragingly, there will certainly be room for improvement as the festival continues. (The present review relates to Wednesday’s performance of the same works.

Master violinist and conductor Itzhak Perlman has done it all. He has appeared with every major orchestra throughout the world, is the recipient of four Emmy awards, has collaborated with composer John Williams as violin soloist in Steven Spielberg’s Schinder’s List and featured at the inauguration of President Barack Obama along with cellist Yo-Yo Ma and clarinetist Anthony McGill.

How gratifying that James Conlon briefly introduced the rationale for this Philadelphia Orchestra concert, which turned out to be entirely divorced from the nostalgic ‘Memories of Prague’ that its title suggested. Instead, what I had presumed to be coincidental key signatures were in fact the link: an exploration of D minor (with a side of D major).

There was a sense of celebration in the air at the Sage Gateshead, as the Northern Sinfonia orchestra and chorus began their tenth season under the direction of Thomas Zehetmair with an all-Mozart programme. The hall was full, and before welcoming Zehetmair to the stage, Sage General Director Anthony Sargent had a bit of fun showing off Hall One’s fancy new multi-coloured lighting effects.