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The Met's holiday special, Hänsel und Gretel, is a treat not only for young children but for adults with its sophisticated music, excellent singing ensemble and orchestra playing, as well as its witty production.
Although deprived of hearing Ravel's Shéhérazade, there was much else to enjoy in the Berlin Philharmonic's performances of Wagner, Widmann and Sibelius.
Rudolf Buchbinder demonstrated his authority in Beethoven with a compelling and elegant account of the Fourth Piano Concerto, while Nikolaj Znaider reached for extremes in Mahler’s First.
Clever staging in Prague breathes fresh life into subversive works that were kept secret during the composer's lifetime.
C’est bientôt Noël… À cette occasion, l'Oratorio de Noël était donné à la Cité de la Musique par le Kammerorchester Basel, Julia Schröder et le Deutscher Kammerchor. Malheureusement, la musique de Bach n’a pas été restituée avec la ferveur qu'il eût fallu.
An audience dominated by families enjoys Humperdinck's Hänsel und Gretel as the Deutsche Oper gives a demonstration of how to build the audiences of the future.
Jean-Efflam Bavouzet gave his thought-provoking, violent and percussive take on Bartók, Ravel and Beethoven - intelligent and uncompromising performance at its best.
Simone Damberg Würtz and Dane Hurst shine in an outstanding evening of new choreography.
With so many performances of Handel’s Messiah popping up around the holidays, how’s one to choose?
Willy Decker’s 2010 bleak, fascinating, controversial production of La traviata has returned to the Met with an entirely new cast.
A select group of musicians provided a modest programme of chamber music at St George’s alongside renowned pianist, Paul Lewis.
Luisa Miller in Zurich is a finely crafted and intelligent production in which Verdi's music supports a tragic story of bourgeois respectability.
Paris and accordions have a very unique relationship, almost “Marmite” in nature: tourists love it, locals hate it.
Haydn und Mahler am Zürcher Opernhaus: Es fehlte wohl etwas die Abgeklärtheit in Mahlers schöner, ergreifender Musik, der Sinn für deren Poesie — irgendwie sprang der Funke nicht über.
Michaela Kaune, Albert Pesendorfer, Eun Yee You and Elīna Garanča transported the audience to a lost time and place, even while embodying their characters’ ultimate timelessness.
Paul McMcreesh leads Royal Northern Sinfonia and their chorus in a Messiah that deliveres all the intoxicating excitement of Handel's operatic writing.
Fidelio waves goodbye to Barenboim at La Scala, and a fine production marks the occasion with a firework display.
A l’Opéra royal de Versailles, l'ode-symphonie Christophe Colomb de Félicien David se voyait ressuscitée par Les Siècles sous la baguette de François-Xavier Roth. Un voyage dépaysant, passionnant, mené d'une main de maître et servi par des interprètes convaincus.
The National Ballet of Canada performs their holiday classic The Nutcracker by James Kudelka. Between crashes, falls and one seriously injury, there are some enchanting elements and noteworthy performances.
Nederlands Dans Theater celebrates 25 years of Lightfoot and Leon, with the strongly executed emotional double bill Sehnsucht / Schmetterling.
Arthur Pita's balletic take on Andersen's The Little Match Girl delights children and adults, and offers a bright alternative for the festive season.
Such is the growing popularity of the solo countertenor voice that in this past week I was able to hear four countertenor performances in London - the latest being Max Emanuel Cenčić.
Baffling staging muddles a politically charged period piece that still has the power to perturb.
In Jukka-Pekka Saraste's hands, Mahler's Sixth Symphony is an unrelenting work which left the audience gasping for air at its stunning conclusion.
Can a Handel's well-worn masterpiece get dramatic new life? Cleveland's Baroque orchestra Apollo's Fire and conductor Jeannette Sorrell answer with a definitive, “Yes!”
Deutsche Oper's production of Turandot ends with a double murder. Whatever point director Lorenzo Fioroni may have been trying to make about unhinged power, it failed to solve the problems of the ending of Puccini's opera.
Alexei Ratmansky's The Nutcracker for American Ballet Theatre is probably the best one since it was first created. Gillian Murphy and James Whiteside danced with poignant grace and radiant musicality that thrilled the audience.
Le 12 décembre 2014, La Clémence de Titus est représentée au Théâtre des Champs-Élysées : la suite du cycle Mozart débuté par l'excellent Jérémie Rhorer depuis quelques années. Une production qui rassemble beaucoup de beau monde…
San Francisco Ballet's Nutcracker delivers the perfect holiday diversion for children and adults alike, in a dazzling rendition you'll savor year after year.
An adventurous journey with David Robertson included a superlative and unique performance of Ives's The Unanswered Question and a terrific introduction to Luc Brewaeys and his Symphony no. 6.
English National Ballet’s Nutcracker: a subdued but promising opening of the Christmas season, at the London Coliseum.
Ainhoa Arteta, Stuart Neill et Nelson Martinez – un trio de solistes remarquables finement dirigé par Oleg Caetani dans une mise en scène de Marco Gandini.
Colin Currie played with passion and verve, but James MacMillan's new Percussion Concerto was a disappointment.
Les Vents Français are musical alchemists, turning some rather humdrum wind repertoire into something approaching musical gold.
The choir tackle an ambitious, if overly long programme of Advent-themed works with mixed results.
Lorenzo Fioronis Heidelberger Inszenierung von Debussys Pelléas et Mélisande beeindruckt durch eine psychologisch ausgeklügelte Lesart.
Ivan Talijancic shares his observation on Russell Maliphant Company's Still Current at The Joyce Theater in New York City.
Canadian soloist James Ehnes and guest conductor Andrew Litton gave an unsentimental and appealing performance of an all-English programme.
As the December nights darken and the winter's first snowflakes fall from the sky, the Scottish Ensemble's candlelight concerts provice a welcome space for reflection at this busy time of year.
The OSM chorus and a well-matched quartet of Canadian soloists dominate the OSM’s Messiah conducted by Andrew Megill.
Valery Gergiev doesn’t aim for technical perfection or for unimpeachable execution: he conducts with almost mystical enthusiasm, drawing all the orchestra with uncontrollable ardour in this magnificent music, so deeply Russian.
Artist Douglas Gordon and pianist Hélène Grimaud literally flooded the Park Avenue Armory with tears become… streams become…
After a six week hiatus, the Metropolitan Opera's new Le nozze di Figaro has returned, with a new cast and conductor.
In this minimalist period production of Figaro, the singing and acting are the centre of attention. A very talented cast carries the show, delivering beautiful singing and engaging comedy.
Stefano Montanari joue et dirige Haendel, D’Alai et Muhly à l’Opéra de Lyon.
Die Zauberflöte may well tell us something about the Human Condition, but its staging in Zurich serves more to distract from the music and the messages than it does to support them.
Das junge Talent Teo Gheorghiu bestach im Palatin Wiesloch gemeinsam mit dem renommierten Carmina Quartett mit einer differenzierten, schlichten Interpretation von Dvořáks Klavierquintett.
Im Salzkammergut, da kann man gut lustig sein, so heißt es in einer Nummer aus dem Weißen Rössl. Wie lustig, das beweist die neue Inszenierung im Salzburger Landestheater mit guten Sängern und grandiosen Schauspielern.
Andrea Marcon leads the Runfunk-Sinfonieorchester Berlin and the RIAS Kammerchor in Bach's Mass in B minor.
A strong cast headed by Peter Seiffert perform in this visually appealing Tannhäuser at the Deutsche Oper in Berlin, where Markus Brück excels as Wolfram and Petra Maria Schnitzer takes on the role of the temptress Venus and the saintly Elisabeth.