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Figaro rules the roost on the main stage this autumn, but buried in the Nibelheim of the Linbury Studio, Rossini'ss early comedy La scala di seta receives its first ever production by the Royal Opera.
Haitink's Bruckner is begining to show signs of his age, but occasional problems of stamina and focus were of little consequence to this otherwise powerful and authoritative reading.
The name George Onslow may conjure up images of whippets, pints and rolling Yorkshire dales, but he was in fact born in Clermont-Ferrand in 1784 and was known as ‘the French Beethoven’.
German tenor Klaus Florian Vogt gave a delightful recital of Wagner, Mozart and operatta, aided by excellent playing by Staatskapelle Weimer.
Fellow Frenchmen Alain Altinoglu and Renaud Capuçon make for fine partners in a rare outing for Berlioz's Harold in Italy.
Slick, surreal and creepy, with a strong cast of exciting young singers: it's hard to imagine a Turn of the Screw better than Glyndebourne's Jonathan Kent version, revived for their 2014 Tour by Francesca Gilpin.
Igor Levit, ein Meister der leisen, verhaltenen Töne, berührte das Publikum in der Zürcher Tonhalle mit drei Beethoven-Sonaten, einer Partita von Bach und Busonis Fantasia nach J.S. Bach.
The concert, which also featured quartets by Mozart and Brahms, was characterized by elegance and refinement, but also great musical drama.
Tao Dance Theatre brings daring and emotional power to Sadler's Wells' stage. Its use of ritual elements is both original and beautiful.
This was a clever and enjoyable concert built around anniversaries – Panufnik at 100 and Richard Strauss at the grand old age of 150. Despite the two composers being miles apart in approach and style the structures of their two pieces, a single movement building to central climax, were revealed as being similar.
Der Bachchor Heidelberg eröffnete mit Felix Mendelssohns Oratorium Elias seine diesjährige Konzertreihe. Der Chor, unter der Leitung von Christian Kabitz, setzt mit den Bachchor-Konzerten die langjährige Kooperation mit dem Philharmonischen Orchester Heidelberg fort.
The opening night of Paolo Pinamonti's second season as director of the Teatro de la Zarzuela had, in principle, its fair share of artistic incentives but unfortunately turned out to be a dismal season start.
Zabou Breitman brings silver screen glamour to Paris Opera's production of Mozart's Die Entführung aus dem Serail, with the show stolen by Anna Prohaska's Blonde.
Das junge Ensemble des Theater an der Wien konnte in einer gekürzten, kammermusikalischen Fassung des Eugen Onegin zwar nicht restlos überzeugen, bot aber einen interessanten Blick auf Tschaikowskis Meisterwerk.
J. S. Bach wrote hundreds of liturgical choral works, most of them with a strict deadline – the forthcoming Sunday morning church service. Yet the composition (some would argue, the compilation) of the Mass in B minor BWV232 occupied him for many years.
The music was so convincingly Czech and so naturally bucolic in outlook that I was left at the end wishing that we might hear more Dvořák from the Hallé/Elder partnership.
Christoph Prégardien's spacious account of Die Schone Mullerin displayed his characteristically radiant sound and instinctive musicality, but was marred by flaws as the song cycle progressed.
Leonidas Kavakos and Yuja Wang play all three of Brahms' sonatas for violin and piano in one evening, without ever looking at each other. They did not seem to need to.
The Nash Ensemble toasted its golden anniversary with a selection of golden French repertoire – some of it more familiar in orchestral form – at its Wigmore Hall gala.
For a folklore enthusiast like yours truly, the CBSO’s matinee last Saturday seemed the perfect recipe: take some Liszt, a generous amount of Bartók and a pinch of Brahms, then add to the excellent musicians for a delectable musical experience.
Vassily Sinaisky and the Hong Kong Philharmonic more at home in Tchaikovsky's focussed lightness than in Mahler's expansive intensity.
The Toronto Symphony Orchestra offered a rich performance of works by Holst, Shostakovich, Grieg and Marquez. Conductor Robert Moody brought out the lyrical side of the orchestra, even if its members were nearly over-shadowed by an over-enthusiastic soloist.
Theodor Strassberger's Oslo production of Mozart's Don Giovanni offers a fresh, mostly well-sung take on an old classic.
Carla Escoda reviews the Joffrey Ballet's revival of Christopher Wheeldon's imaginative <em>Swan Lake</em>, reframed at the Paris Opera of the 19th century, in the world of Degas and Toulouse-Lautrec, complete with strippers and can-can dancers.
The English String Orchestra present works inspired by nature, colour and life by four contemporary composers.
The Royal Ballet's Ashton programme is a rare delight; and the mix of pieces shows how that know-it-when-you-see-it Ashton style is perfectly versatile.
Une programmation cohérente et originale, une prestation imparfaite mais sincère, des idées nouvelles : le concert Empereur de l'ONDIF, avec ses trois campagnes napoléoniennes, fut un concert intelligent.
Seven works by English composers created a journey from beauty to death as Remembrance day approaches. There wasn't much dwelling on the horrors of war itself, but plenty of human emotion and a sense of life sadly lost.
The Zurich Ballet's production of Anna Karenina is an opulent feast. The great tragedy of love, loyalty and betrayal was set against a seamless score of music by Sergei Rachmaninoff and Witold Lutoslawski.
Few composers deal in genial wit better than Joseph Haydn, so it was baffling that his opera buffa Il mondo della luna left me so grumpy in this English Touring Opera production.
Réunissant une programmation éclectique, la direction musicale faisait ici le pari de réunir trois grands compositeurs pourtant peu joués et dont les liens musicaux semblaient peu évidents : Hector Berlioz, Sir Edward Elgar et Benjamin Britten.
Thanks to wild talent of soloist and conductor, a strikingly new take on some familiar work and a standout concert in Houston Symphony's season so far.
„Extrem begabt,“ so beschrieb Deutschlands bekanntester Musikkritiker Joachim Kaiser die junge französische Pianistin Lise de la Salle 2007 in der Süddeutschen Zeitung. Daran besteht kein Zweifel, und die junge Pianistin stellte an diesem Abend ihr Talent erneut unter Beweis.
Nicht alles ist makellos, doch trotz aller Schwächen war dies ein unvergesslicher Abend, und Edita Gruberovà behauptet wieder einmal ihren Platz in den Herzen der Wiener.
L'Orchestre Philharmonique de Radio France accueillait le chef russe Vasily Petrenko et la violoniste Baiba Skride pour un superbe voyage dans les ténèbres de Szymanowski et de Mahler.
New York City Center's 11th annual Fall for Dance Festival's program four reaches out to new audiences with a unique program.
Joélle Harvey, Iestyn Davies, Nicholas Phan and Hanno Müller-Brachmann shine in Franz Welser-Möst's sometimes meditative interpretation of Bach's Mass in B minor.
Esa-Pekka Salonen infused his rendition of L'Oiseau de feu with air rather than fire. I’ve come to expect passion and urgency from performances of the complete ballet, but his splintering silences and startling dynamic shifts lent a unique tone to the work.
Full of physical comedy, joyous and enthusiastic, Fiona Shaw's vision of Mozart's The Marriage of Figaro makes the most of its taut and energetic plotlines, intense charactisation and beautifully balanced music.
Though Janine Jansen's Bartok impresses, Pappano and the LSO disappoint in two of Ravel and Tchaikovsky's best-loved works
Ivan Talijancic discusses L.A. Dance Project's New York debut, a Millepied - Peck - Forsythe mixed bill.
Laurence Cummings and Royal Northern Sinfonia round off their week of Bach concerts at Sage Gateshead with joyful orchestral music, and Bach's miniature comic opera.
Perfectly judged Brahms from the Schubert Ensemble, complemented by satisfyingly rustic Dvořák.
Director Christopher Alden's charming Partenope slinks its Surrealist way into San Francisco.
Hervé Niquet présente au Théâtre des Champs-Élysées son interprétation de Castor et Pollux (version de 1754). Le premier opéra de la saison était attendu avec beaucoup d’impatience ; malheureusement, il n’a pas été à la hauteur de toutes les espérances.
Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).
in Turin, British director Walter Sutcliffe sets Otello right in the middle of a never-ending battle and Gianandrea Noseda leads a passionate, rigorous account of the score.
The Bayerische Staatsoper's La clemenza di Tito features a bold staging, a talented cast of singer-actors, and a great orchestra. Time, place, and genders are all ambiguous, but none of that gets in the way of the story.
Gotham Chamber Opera's current double bill of Bohuslav Martinů's Alexandre bis and Comedy on the Bridge prove that an opera company doesn’t need to be the biggest in town to be the most innovative.
Pretty Yende makes a successful New York recital debut at Carnegie Hall with a diverse selection of songs and arias.