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Sinuous and seductive, wily and beguiling, Scheherazade can prove a handful for many conductors. Do you try to tame her capricious moods or succumb to her will? Kirill Karabits allowed Clio Gould and the Royal Philharmonic Orchestra to relate the tale at their own pace.
The Met’s playful production of Rossini’s great, loveable and busy La Cenerentola is back and in excellent hands. Joyce DiDonato's Cinderella, singing the role at the Met for the first time is perfect.
Probably the most impressive aspect of Chicago Symphony Orchestra’s 2013-14 season has been its consistent commitment to musical diversity. Here, Barber and Gershwin shared the bill with William Schuman and Mason Bates.
Yannick Nézet-Séguin, the chorus and several soloists star in a dramatic version of Bach's St Matthew Passion in which l'Orchestre Métropolitain was less distinguished.
A great deal of the audience were in the house for La traviata last night for the chance to see Diana Damrau and Dmitri Hvorostovsky. They will not have been disappointed: these were performances of the very highest quality by two very fine singers, with Francesco Demuro all but matching them.
Thomas Zehetmair brings out all the ochestral detail of Bach's masterpiece, creating a beautifully approachable and engaging St Matthew Passion that goes straight to the heart of the story.
An excellent Dvořák Cello Concerto with István Várdai and some stirring Mendelssohn from the Istanbul State Symphony Orchestra
Polyphony live up to their reputation, performing Bach's St John Passion with intensity and dynamism, in a performance only marred by some routine orchestral playing.
On Good Friday, Cappella Amsterdam, conducted by Daniel Reuss, gave a beautifully refined rendition of Bach's St John Passion at the Muziekgebouw aan 't IJ in Amsterdam, accompanied by the Orchestra of the Eighteenth Century and the riveting Evangelist of Anders Dahlin.
Les spectacles “Jeunes Danseurs” permettent à la nouvelle génération de s’illustrer dans des extraits d’oeuvres habituellement confiés aux interprètes solistes. L’occasion de découvrir des talents très prometteurs.
James MacMillan’s The Death of Oscar receives its American première under Stéphane Denève, while Paul Lewis is the soloist in a thought-provoking account of Beethoven’s Piano Concerto no. 3.
The Cleveland Orchestra's principal cellist Mark Kosower gives a solid performance in Dvořák’s concerto, coupled with Tchaikovsky's “Pathétique” Symphony under Herbert Blomstedt's direction.
A mixed experience with harpsichordist Noriko Amano and dancer Shusaku Takeachi at the Concertgebouw.
The Dutch National Ballet presents four brand new choreographies in Dutch Doubles, working together with acclaimed artists from different fields.
HeadSpace Dance’s trio of works, If Play Is Play, is energetic, touching, funny and emotional. The four strong performers prove that a small ensemble is in no way a hindrance to a diverse and interesting programme of works, or to an excellent performance.
Kirill Karabits’ imaginative programme revealed CPE Bach as a difficult composer to place, with a symphony bearing all the hallmarks of a young Mozart and an ode with pre-echoes of Haydn’s The Creation, counterbalanced by the UK première of his 1784 St John Passion where, in the chorales at least, CPE demonstrated that he was a chip off the old block.
An evening of two dance world premières, and one Swedish première, by top international names by the Swedish Royal Ballet. Starting with the elegance of William Forsythe, followed by a horrific scene by Chrystal Pite and culminating in the cool gaga-dancing in Sharon Eyals Bill, this is an evening of contrasts.
Le 15 avril, Ton Koopman interprétait la Passion selon Saint Matthieu avec l’Amsterdam Baroque Orchestra and Choir. Un oratorio absolument incontournable, dont la subtilité musicale dépasse le cadre de la foi.
Stichting Internationale Opera Producties presents a romantic production of Puccini’s La bohème with the State Opera of Plovdiv.
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.
The Stepford wife, the doubting priest, the guilt-ridden adulteress, the family black sheep and the outsted, suicidal CEO: staples in television dramas but surprising finds in Handel oratorio.
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.
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.
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.
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.
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.
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.
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.