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Beautiful sacred vocal music by Vivaldi and Pergolesi, performed by Roberta Invernizzi, Sonia Prina and the English Concert.
Riccardo Muti conducts Verdi's Requiem in Madrid and forever changes the lives of the audience that witnessed in astonishment.
A strong cast stars in Christof Loy's unsettling rethinking of Richard Strauss’ Arabella at the Dutch National Opera.
In a concert of two halves, the Philharmonia fail to convince with Suk and Dvořák but provide a thrilling rendition of Janáček's Glagolitic Mass, a choral work that is dramatic, operatic, giant in scale and unique in style.
Michael Collins' golden tone delights in Mozart's Clarinet Concerto in a concert featuring the world première of Gwilym Simcock's latest composition, On a Piece of Tapestry.
Style, technique, an original approach, a brilliant discography, even an exemplary profile offstage – Midori has it all. What impresses in live performances is her intelligence, her deep understanding of the material and ability to articulate a wide range of visions and voices.
Utrecht has endured a long wait for its new concert hall complex, Tivoli Vredenburg. The official opening is still a few months away but we were afforded a sneak preview Saturday evening in one of the smaller halls aptly named Hertz, a play on words combining the musical term for pitch and Vredenburg’s famed architect, Herman Hertzberger.
L’impressionnante Quatrième Symphonie de Górecki se sera fait attendre. L’oeuvre fut achevée en 2006, mais il a fallu que ses enfants retrouvent une esquisse complète de partition des années plus tard pour qu’elle prenne vie, puisqu’à sa mort en 2010, le compositeur ne la jugeait pas encore prête.
The Sydney Symphony Orchestra presented a versatile and truly international menu to its audience last week in a thrice-programmed concert titled “Heavenly Schubert” although it was Shostakovich who proved the strongest draw.
Anoushka Shankar and the RSNO under Kristjan Järvi delight with complementary takes on 'the East' – Arvo Pärt and Ravi Shankar at Edinburgh's Usher Hall.
Nach einigen Startschwierigkeiten begeistert der junge Starpianist Yundi im Münchner Herkulessaal mit chinesischen Werken und Beethovens Appassionata.
La Symphonie no. 2 en ut mineur, dite « Résurrection » de Gustav Mahler, est sans aucun doute l’un des chefs d’œuvre du répertoire.
BalletLORENT bring their eerie adaptation of Rapunzel to His Majesty's Theatre in Aberdeen, with music by Murray Gold and script by Carol Ann Duffy.
Conductor Andrew Gourlay and pianist Alexandra Dariescu perform Tchaikovsky, Shostakovich and Beethoven with Royal Northern Sinfonia, but the overall result is disappointing.
Contemporary dance group, BODYTRAFFIC, made its Boston debut on Friday for a two-night, sold out engagement at the Institute of Contemporary Art, bringing the audience to its feet with a trio of works from three exciting and entirely distinctive choreographers, Kyle Abraham, Barak Marshall, and Richard Siegal.
Rachel Rizzuto reviews LeeSaar The Company's Princess Crocodile at the Baryshnikov Arts Center, New York.
Good versus evil, only evil wins. Wagner's Lohengrin fills the Madrid night with questions about what trust is and what it takes to maintain it.
This production is beautiful to look at and has interesting, atmospheric commissioned music. With The Winter's Tale it is evident that inventive choreographer Wheeldon and The Royal Ballet have another hit on their hands.
Admittedly, it has been quite some time since I heard a St Matthew Passion in a concert hall as opposed to a church. The Concert Hall of the Danish Radio in Copenhagen is an impressive building both inside and out; it was well-filled and buzzing with excitement for a passion featuring the radio orchestra, choir as well as young and attractive international soloists.
As part of the short series of concerts curated by Jakub Hrůša, Bohemian Legends,focusing on Czech music from its golden era 1850 – 1950 and featuring three of its greatest masters (Dvořák, Janáček and Suk), the Philharmonia treated us to a collection of almost excessively rousing works.
At the second screening of three, the British Sinfonietta provided a live accompaniment to an Alfred Hitchcock 1960s masterpiece. Psycho Live! was a chance to see the powerful effect of American composer Bernard Herrmann‘s motion picture music played by a real orchestra.
Richard Egarr leads the Academy of Ancient Music and a stellar team of vocal soloists in an unapologetically lush and dramatic St Matthew Passion.
Alisa Weilerstein und das Mozarteumorchester Salzburg gewähren unter der Leitung von Ivor Bolton Einblick in die Vielfalt der Gedanken von Schumann und Mendelssohn.
A solo circus piece exploring delusions and fantasies, that despite the occasional wobble left me convinced and seduced by performer Alice Allart’s wonderland.
Stéphane Rancourt gives the world première of John Casken's Apollinaire's Bird alongside brilliant Shostakovich and Weill.
Rachel Rizzuto reviews the Trisha Brown Dance Company's three older pieces, including Son of Gone Fishin' and a more recent piece, Rogues at New York Live Arts.
As a highlight of this year's London Handel Festival, the composer's rarely heard oratorio Deborah was given a strong and committed performance by Laurence Cummings and a fine cast.
Alain Platel's Tauberbach was a successful explosion of thought provoking ideas and profound imagery. At Sadler's Wells, London.
Renaud Capuçon and the LPO fail to make the most of Schumann's Violin Concerto, but Saraste's fast, rhapsodic Bruckner made up in beauty of orchestral sound for an unconvincing overall interpretation.
In her annual appearance at Carnegie Hall, Mitsuko Uchida plays Schubert's G Major sonata and Beethoven's Diabelli Variations.
Composer John Casken presents two of his own pieces, and works by his friends and mentors Toru Takemitsu and Witold Lutosławski in a Royal Northern Sinfonia Late Mix concert at Sage Gateshead.
The Toronto Symphony Orchestra led by Peter Oundjian performed at Montreal’s Maison Symphonique in a well-executed and altogether comfortable programme which nonetheless failed to challenge any notion of orchestral status-quo.
La venue de Jordi Savall à la salle Pleyel est toujours un événement très attendu. Lundi 7 avril, il donnait avec son ensemble Le Concert des Nations un programme sous-titré « Tempêtes, Orages et Fêtes marines (1674-1764) ».
Pia Savoie reviews the Australian Ballet's Manon at the Sydney Opera House.
Verdi’s Otello opens with a fierce storm raging over Cyprus. In Rossini’s version, composed 71 years earlier in 1816, the composer eschewed the Cypriot setting entirely and the storm doesn’t take place until Act III, although last night a mighty crack of thunder resounded over the Théâtre des Champs-Élysées as the audience filed into the opera house.
Van Zweden steps in for an indisposed Nézet-Séguin, his debut with the Vienna Philharmonic in a powerful but mainly extrovert performance of Bruckner's 8th Symphony.
Gaetano Donizetti’s Lucia di Lammermoor is a coloratura soprano vehicle and this season’s Dutch National Opera production felicitously starred Jessica Pratt, an internationally celebrated Lucia and a favourite of the Italian public.
Edward Elgar’s The Dream of Gerontius tells the story of a pious man’s death, his travels through Purgatory and finally being accepted into Heaven. It is perhaps not the most dramatic of tales, but one filled with a sense of redemption and intense spirituality.
Emanual Ax demonstrated brilliance both as creative innovator and performer, paying homage the pianist's pianist, Johannes Brahms.
La Juive, Fromental Halévy's grand opéra, makes a powerful return to Gothenburg, the same city where it received its Swedish première 150 years ago, in Günther Krämer’s stark staging.
Matthew Richard Martinez reviews San Diego Opera's season-closing production of Massenet's Don Quixote starring Ferruccio Furlanetto.
Dale Duesing triumphs with a staged version of J.S. Bach's St John Passion performed by the Nationale Reisopera.
Handel's Tamerlano seduces the Versailles Opéra audience in a concert performance.
Parsifal at the Deutsche Oper Berlin is both sublime and terrifying. Vincke's Parsifal was bold and heroic while Herlitzius sang with a silver, sinuous soprano. Stolzl's production gave us the fanaticism of religion rather than hope.
Five hours with five counter tenors: a virtuoso stand-off which impresses, even astounds, but ultimately exhausts even the most dedicated audience by its refusal to cut a single note of what becomes a very long, florid opera by Jommelli.
Vladimir Ashkenazy presents his own refreshing orchestration of Mussorgsky's Pictures at an Exhibition with the Hong Kong Phil
Barbara Hannigan stars both as singer and conductor with ensemble Ludwig at the Concertgebouw. This is a difficult double act and one that doesn't entirely succeed.
Infectious fun from the BBC Philharmonic, as Mancunian trained composers McCabe and Birtwistle received a warm welcome at Bridgewater Hall, and Holst's ever popular Planets triumphed.
Carla Escoda reviews San Francisco Ballet in Alexei Ratmansky's Shostakovich Trilogy, a co-production with American Ballet Theatre, premiering in San Francisco this season.
What happens when a hero comes home? The exploration of this question forms the basis of director Peter Sellars’ new production of Hercules at the Canadian Opera Company.