Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Christian Tetzlaff

Im Zuge des Berliner Pilotprojekts öffnete das Konzerthaus seinen Kammermusiksaal für Mozart und Brahms.

Das Konzert im Pierre Boulez Saal entwickelte sich zu einem Dialog wie ein Gespräch unter Freunden.

Solist, Orchester und Dirigent schienen die Geschichte eines Clowns zu erzählen: künstlerisch existentiell, tragischkomisch, stimmig unterhaltend.

Christian Teztlaff konnte sich bei Jean Sibelius' Violinkonert ganz auf des Deutsche Symphonie-Orchester Berlin unter Robin Ticciati verlassen.

Für mich war das die Wiedergeburt des Violinkonzertes von Mendelssohn, das ich doch zu kennen glaubte – ungemein faszinierend, spannend, und belebend!

Das Konzert markierte die Residenzeröffnung der Deutschen Kammerphilharmonie Bremen, diesmal noch in der Laeiszhalle, zusammen mit ihrem Partner Christian Tetzlaff. 

Jurowski and the Berlin Radio Symphony Orchestra give the Konzerthaus a night to remember with pungent renditions of Goldmann, Weill and Stravinsky's Jeu de cartes.

Entourée de Daniel Harding, Ian Bostridge, Christian Tetzlaff, Alban Gerhardt et Paul Lewis, la phalange parisienne a livré un concert exceptionnel, fidèle à la façon qu'avait Lars Vogt de faire la musique.

For his Cleveland Orchestra debut, Kahchun Wong offered Bartók paired with the Beethoven Violin Concerto and Christian Tetzlaff.

Barbara Hannigan chante et dirige un concert inégal, particulièrement convaincant dans Berg mais légèrement décevant dans le Requiem de Mozart.

In this Russian-based programme, Christian Tetzlaff gave a commanding performance of Shostakovich's troubled final concerto, while Karina Canellakis and the LPO eschewed the dark corners and crevices of Tchaikovsky's Fourth Symphony.

El violinista Christian Tetzlaff interpretó el poderoso concierto de Alban Berg junto a David Afkham en la dirección.

Au TCE, Lars Vogt dirige son Orchestre de chambre de Paris dans une Symphonie n° 2 de Brahms délicatement chambriste, après un brillant Concerto pour violon de Dvořak par Christian Tetzlaff.

Shostakovich, combined with witty Prokofiev, warm and expressive Mozart and atmospheric Mussorgsky from Noseda and the LSO at the Barbican.

As part of Philharmonia’s the Bittersweet Metropolis strand focusing on the music and culture of Germany in the interwar years, Esa-Pekka Salonen curated an interesting group of works designed to paint a picture of the more serious end of the music world in Berlin.

Soliste dans Mozart et Mendelssohn, premier violon dans Schönberg et Haydn, Christian Tetzlaff force l'admiration au Théâtre des Champs-Elysées, à la tête d'un Orchestre de chambre de Paris dynamique.

Au Théâtre des Champs-Élysées, le violoniste a livré une interprétation époustouflante du concerto de Sibelius. Dirigé par Robin Ticciati, le London Philharmonic Orchestra a laissé une impression plus mitigée dans Bruckner.

Shakespeare's witches would have felt very much at home amidst the heated landscapes on display in this LPO concert featuring Sibelius and Bruckner.

Robin Ticciati and the DSO bring a strong sense of purpose to Rachmaninov's Second Symphony and Christian Tetzlaff explores the extremes of Beethoven's Violin Concerto. 

Early works by Schoenberg and Webern filled out an austere program.

Powerful and impressive playing from the LSO and Jaime Martín in a Spanish-themed first half (also featuring Christian Tetzlaff), with a more nuanced array of Stravinskian colour in the second half.

Obras de Falla, Lalo y Stravinsky para un juego de referencias y variaciones en torno al carácter popular de melodías que respiraban frescura y vitalidad, y que proponían plasmar esa misma sinergia entre el director Jaime Martín y la London Symphony Orchestra.

Teztlaff’s ability to bring freshness and an enchanted inner life to even the most trodden of musical works is unsurpassed.

Mozartian lightness and wit, dark beauty from Berg and melodious angst from Schubert: the Tetzlaff show us three very different sides of the Viennese string quartet

Vladimir Jurowski is fond of grand statements, and sometimes off-the-wall programming – genius when it works, baffling when it doesn’t. 

Simon Rattle returns to the UK in a (self-)portrait concert with the London Symphony Orchestra showcasing contemporary music

A refreshing Austro-German programme of works that neatly dovetailed into each other, presented with energy by the Scottish Chamber Orchestra and Robin Ticciati.

Juraj Valčuha’s CSO debut was an evening of diverse repertoire, from Haydn to Strauss (both Johann II and Richard) to Szymanowski, the latter featuring a memorable performance by Christian Tetzlaff.

Jumping in to cover for Valery Gergiev,  Susanna Mälkki made a promising debut with the LSO, offering a commendable, if flawed, Also sprach Zarathustra.

The ever consummate conductor delivers a trio of stylistically contrasting works by Haydn, Beethoven and Nielsen with a single trait in common: obdurate perfectionism.

Ce lundi 30 mai, un légendaire pianiste et trois des plus grands archets de notre temps se réunissaient pour interpréter les très exigeants quatuors avec piano opus 25, 26 et 60. La probité exacte, souveraine et inentamée de ces lectures était une démonstration parfaite de la différence qu’il y a entre éloquence et emphase.

That Thomas Adès is a force of musical nature was demonstrated again in this passionate concert that made up the second part of his Composer Focus with the LSO.

Christoph Eschenbach returned to the Concertgebouw with another smashing success, leading the London Philharmonic Orchestra in a programme of Beethoven, Brahms, and Rihm.

The Orchestra of St. Luke's under Heras-Casado performed an intriguing program of early works by Stravinsky, Tchaikovsky, with a stirring account of Mendelssohn's Violin Concerto as a special treat in between.

The Leipzig Kapellmeister Riccardo Chailly and his Gewandhausorchester demonstrate style and substance in two tone poems by Richard Strauss, with Christian Tetzlaff as the soloist in Mozart's K216 concerto.

A stunning work by Esa-Pekka Salonen, a dream landscape by Karol Szymanowski and a monumental tone poem by Richard Strauss recently made for a rich offering in Zurich.

Sunday night's concert saw the LSO on top form, however their partnerships with Christian Tetzlaff and LSO Chorus on either side of the interval produced mixed results. 

Dvořák’s “New World” Symphony and Hindemith’s Konzertmusik round out a very satisfying concert.

The 2015 Master Series of the Sydney Symphony Orchestra opened with a programme of Schumann and Mendelssohn put together with excellent taste and scholarly insight.

L’Orchestre Philharmonique de Radio France propose un cycle Beethoven/Berg dirigé par Daniel Harding, entouré de quatre solistes de renom. La soirée du 9 janvier réunissait trois œuvres très belles mais difficiles : une performance honorable sans être exceptionnelle.

Le Philharmonique de Radio France est décidement en très grande forme en ce moment.

The second concert of the Philharmonia’s Brahms cycle saw Brahms’ orchestra at its richest and most full-blooded. Alongside the burnished, glowing colours of the Haydn Variations were placed the autumnal glow of the Third Symphony and the Concerto for Violin and Cello, Brahms’ final orchestral work, with sibling soloists Christian and Tanja Tetzlaff.

Every once in a while, as a reviewer, you are so utterly transfixed by a performance that it becomes an incredible effort to wrench yourself back into reality in order to put pen to paper, such is the visceral impact. And so it was with Christian Tetzlaff’s performance of Beethoven’s Violin Concerto with the City of Birmingham Symphony Orchestra.

30 August to 14 September 2013 marked the second year of the mozart@augsburg festival, held both in and around the city.

“Europe’s answer to the ACO” was how composer Brett Dean described the Mahler Chamber Orchestra before its first concert in Sydney. Despite the similarity in names, the two are very different ensembles.

It’s easiest to describe Christian Tetzlaff’s approach to playing the violin by what he isn’t trying to do. He is not trying to play as beautifully as possible, in the conventional sense. He is not trying to sound like a nightingale, soaring long, honeyed lines above an accompaniment.

On 3 September 1912, in a Proms concert which also featured a comedy overture by Granville Bantock and excerpts from Délibes’ ballet Coppélia, Henry Wood and his Queen’s Hall Orchestra gave the world première of Arnold Schoenberg’s Five Orchestral Pieces, a landmark work in atonal expressionism which drew hisses from the hall audience.

For last Sunday’s concert, conductor Michael Tilson Thomas and the San Francisco Symphony chose a programme with a distinctly Eastern European flavour spanning almost a century and a half. They began with Liszt’s Prometheus, an overture to a set of choral pieces Liszt wrote for a festival celebrating the life and works of German literary philosopher Gottfried von Herder in 1850.