You are using the Global edition of Bachtrack, which contains listings and reviews across the world. Click here to choose an edition for a different country or world-wide
Select a country
Or choose a country by typing some of its name
Select a region/state
Or choose a region/state by typing some of its name
Select a city
Or choose a city by typing some of its name
Select a venue
Or choose a venue by typing some of its name
Selected dates: All dates
New York Polyphony brought Dallas residents a refreshing interlude to the post-Thanksgiving consumerist madness, with a recital of Christmas music old and new.
Auckland Chamber Orchestra’s stunningly played “Voice of the Whale” concert featured 20th-century and contemporary works, including pieces by George Crumb, Michel van der Aa and John Adams.
Philip Herreweghe directs Schütz' Psalmen Davids with Collegium Vocale Gent at the Amsterdam Concertgebouw, in a performance of sustained power and feeling.
Continuing their Shostakovich cycle, the Mariinsky Orchestra and Valery Gergiev brought the Fourth and Ninth Symphonies to the Salle Pleyel, as well as the Concerto for Piano and Trumpet, with pianist Daniil Trifonov.
Maxim Vengerov began his residency with the Oxford Philomusica with a chamber recital accompanied by the orchestra's director Marios Papadopolous. This passionate concert was delivered with panache and a smile.
Soloists from Samling Scholars and Samling Academy join Royal Northern Sinfonia and Chorus for this year's performance of Handel's Messiah at Sage Gateshead.
An authoritative account of Bach's music for Advent from Jos van Veldhoven and the Nederlandse Bachvereniging in Amsterdam.
A small company with big ambitions, Ballet Cymru’s latest work, Romeo and Juliet, is another triumph for this determined company.
Marin Alsop leads the Cleveland Orchestra in Schumann's Piano Concerto with soloist David Fray, as well as Samuel Barber's Second Essay and a dramatic reading of Aaron Copland's Third Symphony.
The Royal Swedish Opera's Salome, directed by operatic first-timer Sofia Jupither, is dramatic, and its strong directorial concept does not get in the way of the story. Nina Stemme sings astoundingly, and gives a nuanced portrayal of the title character.
Ailyn Perez, Stephen Costello and Simon Keenlyside star in Verdi's La Traviata at the Deutsche Oper Berlin.
At the Komische Oper Berlin, West Side Story has some incredible highlights, but leaves a few too many whys to be wholly enjoyable, with some curious production details.
Marie-Nicole Lemieux and Yannick Nézet-Séguin score personal triumphs with l’Orchestre Métropolitain in their first concert together in thirteen years.
Jun Märkl, Ran Dank and the Kansas City Symphony played Chopin and Berlioz in Helzberg Hall, Kansas City, Missouri. This is an institution the city has built out of pure love for music, and its success is well deserved.
Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.
The Lautten Compagney performed Handel's Rinaldo at the Amsterdam Concertgebouw enjoyably, though without sweeping the audience off its feet.
Every city has its favourites, and Jan Lisiecki is Montreal’s darling. There was a sense of proprietary pride in the audience as he strode across the stage at the Maison Symphonique, to join Kazushi Ono and the Orchestre Symphonique de Montréal.
This opera gala saw the Borusan Istanbul Philharmonic Orchestra mark their 15th anniversary with an unforgettable evening. The BIPO were joined by tenor Roberto Alagna, making his Istanbul debut, and mezzo-soprano Roxana Constantinescu, a rising star.
Daniel Harding and the London Symphony Orchestra again paired Schubert with a late Romantic, this time Richard Wagner, and the second act of Tristan und Isolde. The orchestra were on a form it would be hard to match.
Mark Morris Dance Group present an excellent Programme B (with the dazzling Festival Dances) at London Sadler’s Wells.
In her curated evening at Sadler's Wells, Laura Dajao takes a closer look at what it means to dance.
The Mark Morris Dance Company at Sadler’s Wells: Greek Tragedies and other visual counterpoints with plenty of references to dance history, all served with a delicate ironic touch.
With composer James MacMillan in attendance, this Edinburgh Quartet concert confirmed that the group has audience attraction and engagement at its core.
Southbank Centre's The Rest is Noise festival continued its focus on politics and spirituality with Henryck Górecki's popular Third Symphony, coupled with Krzysztof Penderecki's lesser-known Violin Concerto – but it was the latter work which fared better.
With musicians of this caliber, it is the soul of the music that matters not the mathematics, and Martha Argerich and Gidon Kremer were nothing if not soulmates in this Istanbul recital.
It was one of those extraordinary solo performance that left no-one in the audience indifferent. An unmissable event for all Baroque lovers in Paris: the Argentinian countertenor Franco Fagioli in town for a recital at the Salle Gaveau. The concert was part of a tour in support of his new CD Arias for Caffarelli.
Nils Frahm and Dawn of Midi delivered an enchanting, dramatic pair of sets at (Le) Poisson Rouge.
At London's new venue Milton Court, Kensington Symphony Orchestra played a mixed Bruckner 3 and an excellent Prokofiev concerto with soloist Nikolai Demidenko.
Georgian violinist Liana Isakadze and Finnish organist Kalevi Kiviniemi performed a joint recital at St James's Church, Paddington.
In a double bill at Sadler’s Wells, BalletBoyz demonstrate a group amity and common identity unlike any other company of their size.
Violinist Pekka Kuusisto and Britten Sinfonia succeeded in creating a dynamic and captivating programme at Milton Court, with a series of works conceived as a whole and leading up to Britten's Serenade.
Akin to medieval knights of old, the Norwegian pianist Leif Ove Andsnes is on a quest called “The Beethoven Journey”. Collaborating with the Mahler Chamber Orchestra, this stop on the journey in Dublin was enthralling.
John Cranko choreographed his comical ballet Taming of the Shrew for the Stuttgart Ballet in 1969. Not seen in the UK for more than twenty years, this performance of the ballet was no exception to the well-known quality of the Stuttgart Ballet.
Perhaps the strongest aspect of Michael Tilson Thomas and Chicago Symphony Orchestra’s rendition of Mahler’s Ninth Symphony was their ability to heighten the piece’s contrasts, offering a vibrant depiction of the symphony’s raw emotional qualities.
Mahler’s Symphony no. 8 had not been heard in Milan for 27 years. Tonight, Riccardo Chailly returned to perform the “Symphony of a Thousand” with his former band, the Orchestra Sinfonica di Milano Giuseppe Verdi.
It seems unfair to describe this as a Jordi Savall concert, when in fact Xavier Díaz-Latorre, introduced as his collaborator, played at least as fundamental a role and provided some of the most memorable moments of the evening.
Silence spoke volumes in this tribute to John F. Kennedy at the Nasher Sculpture Center, Dallas, which contained pieces by Messiaen, Steven Mackey and John Cage.
Christoph von Dohnányi was awarded an honorary doctorate at the Royal Academy of Music, London, and to celebrate he led some of the Academy's students in a performance of Schubert's "Unfinished" Symphony.
Tonight, on Benjamin Britten’s birthday 100 years to the day, Llŷr Williams performed a selection of Britten’s piano music alongside works by Haydn, Bridge and Schubert, in a concert concluding the Gregynog Festival.
Birmingham Royal Ballet's The Nutcracker, with choreography by Peter Wright, Lev Ivanov and Vincent Redmon, was a magical evening of pure nostalgia.
Nathaniel Merrill’s production of Der Rosenkavalier opened at the Metropolitan Opera on 23 January 1969. Richard Nixon had been sworn in as President as the United States only a few days earlier. It is still in the repertory today, here revived with Edward Gardner conducting.
Part of the Next Wave Festival, 21c Liderabend achieved a delicate balance that, more times than not, New York’s larger performing arts venues fail to accomplish: an intimate experience in an extravagant, larger-scale setting.
RSNO music director Peter Oundjian conducted his orchestra in three contrasting pieces, joined for Beethoven's Emperor concerto by Nikolai Lugansky.
Rachel Rizzuto reviews Mark Morris' L'Allegro, il Penseroso ed il Moderato at Lincoln Center, as part of the White Lights Festival.
The buzz in the Concertgebouw was palpable for many minutes before the entrance of Cecilia Bartoli. It was one of those occasions when even an audience member who knew nothing of the artists could hardly have failed to anticipate something special. She did not disappoint.
Unique, wacky and more than a little bit mad, Michael Clark’s triple bill at the Barbican will leave you speechless, if a little frazzled.
In commemoration of Britten’s centennial, the Centro Nacional de Difusión Musical, in collaboration with the British Council programmed a series entitled “Britten Classics”. This concert was a highlight.
Nothing comes close to Victor Quijada’s ever original style. As the choreographer behindQuotient Empirique and founder of RUBBERBANDance, he teaches his dancers to turn a dimmer on gravity’s effect.
Benjamin Britten’s 100th birthday was celebrated on Thursday at the Berlin Konzerthaus with a spectacular performance of his seminal War Requiem.
The new Traviata at the Lyric Opera is both hyper-traditional and, in moments, saucily modern. In broad strokes, it looks like many another Traviata that has come before, though a twinge of visual ambition goes past such clichés.