| Date and venue | Title |
|---|---|
| 14-Feb-2013 Carnegie Hall: Stern Auditorium/Perelman Stage | The Concertgebouw caress Strauss and Bruckner at Carnegie |
 Amsterdam audiences must be spoiled by hearing the Royal Concertgebouw Orchestra so often. In this second concert of two at Carnegie Hall, the Concertgebouw again used their immaculate sound and tonal palette to lyrical effect, this time not in Bartók and Mahler, but Strauss and Bruckner.
Read full review... | |
| 13-Feb-2013 Carnegie Hall: Stern Auditorium/Perelman Stage | Blistering Bartók from Kavakos and the Concertgebouw in New York |
 Two programmes, four works, and nothing written before 1880: the Royal Concertgebouw Orchestra and their chief conductor Mariss Jansons certainly know how to play to their strengths on tour. What strengths they are, too. This orchestra generates a uniquely warm sound, maintains scrupulously clean textures, and possesses technical skills that surpass even the finest of other orchestras.Read full review... | |
| 31-Aug-2012 Großes Festspielhaus | Leonidas Kavakos, Mariss Jansons and the Royal Concertgebouw Orchestra in Salzburg |
 Amsterdam’s Concertgebouw can claim the most enduring historical connection with Mahler’s symphonies of any orchestra due to their erstwhile principal conductor Willem Mengelberg, who invited Mahler to Amsterdam to conduct the Third and Fourth Symphonies in 1903 and 1904 respectively and after the composer’s death became one of his chief disciples.Read full review... | |
| 20-May-2012 Barbican Centre: Hall | A Bruckner 5 of Integrity and Nobility from Haitink and the Concertgebouw |
 Bruckner moved to Vienna in 1868 to take up the post of Professor of Organ, Harmony and Counterpoint at the Conservatory. Seven years later, in 1875, he was still ruing the day he had left his local city of Linz: only one symphony had been performed, his income was meagre and he envisaged going to debtors’ jail, “where I can descant to my heart’s content on my folly in ever coming to Vienna.” But the day after writing that letter he began his Fifth Symphony, starting with the Adagio and its sorrowful oboe theme.Read full review... | |
