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
Cellist Louisa Tuck and the Royal Northern Sinfonia, with guest conductor Paul Watkins, deliver a lyrical and coherent interpretation of Britten's complex Cello Symphony.
Asko|Schönberg presents exciting new works by Wagemans and Kulenty.
Risks bring rewards as Matthias Goerne and Christoph Eschenbach present Die schöne Müllerin at Carnegie Hall.
With 4D, Moroccan choreographer Sidi Larbi Cherkaoui frames four duets on the theme of love and lust, derived from different works during his long career. Sofia Nyblom is initially seduced, but chokes on the stickyness of too much love-making.
Benjamin Millepied's L.A. Dance Project is back in Paris with L.A. Dance Project 2, showcasing works by Millepied, Emmanuel Gat, Hiroaki Umeda and Justin Peck. At Théâtre du Châtelet.
Eastern European folk rhythms and the spirit of fin de siècle Russia resonate through Basingstoke as the Vienna Tonkünstler Orchestra plays Kodály, Rachmaninov and Dvořák.
Cette année, King’s Place célèbre le 140ème anniversaire de la naissance de Arnold Schoenberg, compositeur autrichien surtout connu pour s’être distancé de la tonalité classique et avoir développé le dodécaphonisme.
Despite a disappointingly static production, the cast shine in the Royal College of Music's producion of Handel's rarity Arianna in Creta.
Miguel Poveda gives a powerful performance at London Flamenco Festival at Salder’s Wells.
A substantial musical menu of works by Wagner, Liszt and Berlioz, the poster boys of 19th century Romanticism, along with a world première, presented by l'Orchestre symphonique de Montréal, Marc-André Hamelin and Kent Nagano.
The future of opera is in good hands, if Tuesday night’s opening of Jonathan Dove's The Adventures of Pinocchio at the Guildhall School of Music and Drama is any indication.
Eugene Onegin: regrets, broken dreams and sorrow are perfectly rendered in this staging, as the callous dandy's icy heart eventually melts.
Pieter Jan Leusink and the Bach Choir and Orchestra of the Netherlands give an exuberant and warm-hearted perofrmance of Mozart's Coronation Mass and Requiem.
With this new production of Gluck's Alceste in Madrid, Krzysztof Warlikowski uses a well known popular icon to drag the audience into a two-way process of dramatic exploration.
If you like your flamenco hot and heroic, with a dash of pathos, La Pepa at Sadlers Wells will not disappoint. By Ballet Flamenco Sara Baras.
A deeply stirring interpretation of Bach's St John Passion from Pacific Musicworks in Seattle.
There’s more to Brazil than nuts and football, as our reviewer discovered in an evening devoted to Brazilian Baroque, presented by Ex Cathedra.
Extreme dynamics explored in Ravel's Daphnis et Chloé and Boléro presented by the Dallas Symphony Orchestra and Jaap van Zweden, complemented by Louis Lortie's Mozart.
Dutch National Ballet's Fairytales is fantastic night out for all ages. Anna Tsygankova as the title role in Firebird and Remi Wörtmeyer as Puck in The Dream stun their Dutch audience with their athleticism and expressiveness. At Amsterdam Muziektheater.
Natalie Dessay’s recital at the Maison Symphonique last night should have been an art song lover’s dream come true. Instead the audience was treated to a bizarre spectacle of over-expression and under-singing.
An honest and subtle performance from Barbara Hannigan in the Dutch première of Hans Abrahamsen’s song cycle which tells Ophelia's story.
Kasper Holten's innovative production of Tchaikovsky's Eugene Onegin comes to Sydney, with Nicole Car outstanding as Tatyana.
Luca Silvestrini’s Border Tales at The Place is a colourful, humorous look at multiculturalism in modern Britain.
Stéphane Denève’s astute dramatic sensibilityis to the fore in dance-related Prokofiev, Poulenc and Stravinsky in Philadelphia.
Marc-André Hamelin, Martin Fröst and Anthony Marwood join forces at Wigmore Hall in a great selection of mainly 20th century classics by Debussy, Stravinsky, Bartók and Poulenc.
Stately fun and stormy exoticism: Maxim Vengerov appears as soloist and conductor in a programme of Beethoven and Rimsky-Korsakov at the Barbican.
Richard Jones' new production of Rodelinda for ENO has some very good singing, but suffers from a production that refuses to take the opera seriously.
Two English operas featuring strong central female characters, men called by the sea, and tragedy wrought by overwhelming, irresistible forces form a double bill in Cleveland, directed by David Bamberger.
American Ballet Theatre's Japan tour returns Kenneth MacMillan's Manon to company repetoire, with Diana Vishneva and Marcelo Gomes dancing the main roles, the two stars dazzling with chemistry.
Francesca Zambello's huge, ambitious production returns once again to the Royal Albert Hall, with lavish costumes, excellent choreography and riotous crowd scenes which will charm children in particular.
Italian Dance Theatre company, Kataklò, makes a tour around the Netherlands with their show Puzzle. At the Meervaart Theatre, Amsterdam.
In its annual visit to Linbury Studio, Ballet Black presents Arthur Pita’s brilliant A Dream Within a Midsummer Night’s Dream together with new works by Martin Lawrence, Christopher Marney.
Nicola Benedetti mesmerizes the Madrid audience in Tchaikovsky's Violin Concerto, with Julian Kuerti framing the programme with Beethoven.
The imagery is breathtaking and the trembling bodies force you to settle, be still and think about rehabilitating our Earth. Cloud Gate Dance Theatre of Taiwan restores Mother Earth with Rice. At Sadler's Wells Theatre, London.
Christoph von Dohnányi yields to the Romanticism of Ein Heldenleben after a delicate, ornate rendering of Beethoven's Piano Concerto no.1 from Martin Helmchen.
A great post-war classic by Henze in a strong new production from Welsh National Opera.
Le nozze di Figaro in Götz Friedrich’s vintage production at the Deutsche Oper Berlin provides an entertaining evening.
Rachel Rizzuto reviews Kimberly Bartosik's You Are My Heat and Glare at New York Live Arts.
Julia Fischer and Daniel Müller-Schott demonstrate faultless command of Brahms' consumately crafted Double Concerto, which makes a telling contrast with Bruckner's wayward early Symphony no.2 in C minor in Jurowski's committed LPO performance.
American Ballet Theatre’s second program of their tour is the All Star Gala, not just a star-studded pas de deux evening but with two brilliant works, Balanchine's Theme and Variations and Ratmansky's Piano Concerto no. 1.
Birmingham Royal Ballet take us on a pilgrimage to Mount Fuji with The Prince of the Pagodas at the Birmingham Hippodrome.
A thoughtful pairing of Schoenberg's Friede auf Erden and Beethoven's Ninth fails to catch fire.
Pierre Boulez builds a deceptively brilliant program featuring works by Stravinsky, Debussy, and Ravel, and the Chicago Symphony Orchestra follows through on its execution.
The Czech Pavel Haas Quartet bring their distinctive sound and selfless musicianship to Birmingham, in the first of three concerts featuring Matthew Hunt in Brahms's Clarinet Quintet alongside twentieth century quartets.
"Carta Blanca" brings John Adams and the Attacca Quartet to Madrid. John's Book of Alleged Dances and String Quartet are played, alongside Beethoven's String Quartet in F major, Op.18 no.1.
The UK-Russian Cultural Year is launched in London by the Tchaikovsky Symphony Orchestra of Moscow Radio, in a programme of Tchaikovsky and Shostakovich.
The LSO, under Daniel Harding, gives the world première of Huw Watkins’ impressive Flute Concerto, before offering a spectacular performance of Mahler’s Symphony no.1.
Dvořák filters the New World through lenses from the old, while Janáček explores jealousy and suspicion in a Wigmore Hall programme from the Takács Quartet.
In the world of concert music, it is a rare privilege to witness the first ever performance of an instrument in Britain, let alone a whole host that have been specifically created for a piece of music. A stage full of weird and wonderful creations took over the Colston Hall for one of the most surreal concerts I have ever attended.
Both a grand and intimate programme from Imogen Cooper, centred around the music of Robert Schumann.