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Performer: Gianandrea Noseda

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ZürichIl trovatoreNew production

Verdi: Il trovatore
Gianandrea Noseda; Adele Thomas; Zurich Opera; Annemarie Woods; Franck Evin; Beate Breidenbach

ZürichBrahms Dvořák

Brahms, Dvořák
Philharmonia Zürich; Gianandrea Noseda; Daniil Trifonov

LondonSally Beamish Distans

Beamish, Prokofiev
London Symphony Orchestra; Gianandrea Noseda; Janine Jansen; Martin Fröst
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StockholmBeethoven Symphony no. 6

Beethoven: Symphony no. 6 in F major "Pastoral", Op.68
Royal Stockholm Philharmonic Orchestra; Gianandrea Noseda

StockholmMozart Piano Concerto no. 16

Mozart, Respighi, Rota
Royal Stockholm Philharmonic Orchestra; Gianandrea Noseda; Lise de la Salle

LondonRussian Roots

Rachmaninov, Tchaikovsky, Balakirev, Shostakovich
London Symphony Orchestra; Gianandrea Noseda; Seong-Jin Cho
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National Symphony makes a fine-sounding digital return to the stage

Vibrant Mozart G minor symphony anchors the National Symphony’s digital return to the stage as distancing, sound engineering requirements generally score well

****1
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Rollicking Mahler Fifth may have just put NSO on the global map

Clarion details from start to finish result in a spectacular Mahler Fifth from Noseda and the National Symphony Orchestra
*****
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Thrilling Shostakovich with a heart of desperation from the LSO

Shostakovich, combined with witty Prokofiev, warm and expressive Mozart and atmospheric Mussorgsky from Noseda and the LSO at the Barbican.
****1
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Game of two halves: Buniatishvili, Noseda and the LSO

Buniatishvili 4 – Tchaikovsky 2 at the interval, but Dmitri Dmitrievich comes off the bench after half time to level for the Russians in Leningrad.
****1
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Noseda digs into his “Russian Roots” with the LSO

Gianandrea Noseda proves his Russian credentials with a nerve-shredding, volatile account of Tchaikovsky's Fifth Symphony. 
****1
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Expanded Puts song cycle scores well for NSO

Kevin Puts’ expanded work on Georgia O’Keeffe and Alfred Steiglitz provides another triumph for Renée Fleming and the NSO, while two Strauss works demonstrate both its artistic re-emergence and work left to do.
****1
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