Kazushi Ono’s career has involved a number of high profile positions including Principal Conductor of the Tokyo Philharmonic Orchestra (1992 – 2001) and General Music Director of the Badisches Staatstheater (1996–2002). In 2002 Kazushi Ono succeeded Antonio Pappano as Music Director of La Monnaie, Brussels. He enjoyed six highly successful seasons at La Monnaie before moving to the Opéra de Lyon in September 2008. He is also Conductor Laureate of Tokyo Philharmonic Orchestra.
In addition to these tenures, Kazushi Ono has been guest conductor with some of the world’s leading international orchestras such as the Boston Symphony, Israel Philharmonic, Leipzig Gewandhaus, City of Birmingham Symphony, London Philharmonic, Oslo Philharmonic, and Academia Santa Cecilia. Together with radio orchestras such as Orchestre Philharmonique de Radio France, Vienna Radio Symphony, Danish and Finnish Radio he has also conducted numerous German radio orchestras including Hamburg, Freiburg, Stuttgart, Frankfurt and Cologne as well as the BBC Symphony and BBC National Orchestra of Wales.
|Date and venue||Title|
Barbican Centre: Hall
|Total Immersion: BBC Symphony Orchestra dedicates a day to the sounds of Japan|
|The final concert in this day-long exploration of Japanese music turned out to be a bit of a mixed bag. It is likely that, with the exception of Toru Takemitsu, few average Western audiences would be familiar with the composers featured in this programme. This is of course a wonderful reason to exhibit their work – however, in programming a concert comprised of relatively unknown music (all of tonight’s six pieces were national or regional premières), combining the right amount of variety with familiarity becomes even more important than usual.
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|RSNO: Prokofiev, Mozart and Strauss with Kazushi Ono and Saleem Abboud Ashkar|
|“Cinderella” and “ballet” might ordinarily suggest glockenspiel-topped delicacy; not in Prokofiev’s case. His ballet Cinderella, and the selection from it chosen by the RSNO, contains great variety. The Introduction’s darkness hints at the exploitation and neglect which are to be vanquished by love and happiness. Prokofiev’s stated aim to write a ballet which was “as danceable as possible” did not rule out the burlesque.|
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