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Released from the pit of the opera house, the Staatskapelle Berlin deliver a thrilling performances of Strauss's Heldenleben, led by Daniel Barenboim with soloist Anna Netrebko soloist in the Four Last Songs.
A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role
The BBC SSO and Ilan Volkov close EIF 2014's contemplations on 'Conflict and Culture' with dark Mills and dramatic Janáček.
A rendition of The Creation in Auckland that had one marvelling anew at Haydn’s ingenuity and spirit.
Sian Edwards leads a powerful exploration of Max’s chamber works at Cadogan Hall, with extraordinary solo turns from Tim Gill and Rebecca Bottone.
Daniel Harding and the Swedish Radio Symphony Orchestra gave an oddly-staged, at times erractic, performance of the “Resurrection” Symphony that failed to completely encapulsate Mahler's vision.
New Year’s Day falls at the end of August in Utrecht! We gather, we drink, we kiss, we wish each other well while opening the Festival of Early Music.
Fiery Janáček and Lalo tempered by autumnal Brahms in Sydney in a concert which turned the usual structure on its head.
A rare chance to see Berlioz's five act epic Les Troyens. Huge Russian forces from the Mariinsky Opera under Valery Gergiev visit the Edinburgh Festival.
An exciting programme, although not without flaws, kicked off the Oslo Philharmonic's new season.
Mozart und Bruckner haben inhatlich nicht unbedingt viel miteinander zu tun. Lang Langs Interpretation mit Mozarts kompositorischen Ideen leider auch nicht. Gewohnt brilliant sind dafür Daniele Gatti und die Wiener Philharmoniker. Auch bei den Festspielen kann nicht alles perfekt sein.
British lyric tenor Ian Bostridge presents an outstanding Schubert recital with his regular partner Julius Drake.
The wide variety of music Vienna has provided over the last couple of centuries was effectively on display here in Auckland.
Bold choices married with family favourites for Proms Plus Family concert, but programming was not always matched by expression.
Le Collegium Vocale Gent et l’Orchestre des Champs-Élysées sous la direction de Philippe Herreweghe dans un programme Bruckner/Schubert : une musique pleine de gravité, proposée avec intensité par un très grand chef.
Attila Jun's outstanding Hagen and Catherine Foster's sublime Brünnhilde light up the last episode of Frank Castorf's puzzling Ring.
In a packed Usher Hall, Royal Concertgebouw Orchestra still and thrill by turns with transcendental, colourful Ravel and innovative, cinematic young Shostakovich.
A ravishing performance from the Myung-Wung Chung Seoul Philharmonic for the orchestra's BBC Proms première.
Tim Benjamin's new opera is full of good ideas: too full, of too many of them, with a lacklustre and tired plot that doesn't deliver what it promises, despite a gifted and committed cast who resolutely try their best.
A winning young cast discovers that all's not well that ends well in the Orchestra of the Eighteenth Century’s virtuosic Così fan tutte at the Royal Theatre Carré in Amsterdam.
« Le Combat de Saint Michel » par l'ensemble Pygmalion : un fil conducteur inédit, déroulé d’une main de maître par un Raphaël Pichon toujours aussi excellent dans ce répertoire.
Rich textures and sculpted phrases: Iván Fischer presents a unique vision of Brahms' Third and Fourth symphonies. Drama maybe lacking, but the BPO more than compensate with the beauty and elegance of their sound.
At the 2014 Edinburgh International Festival, Gianandrea Noseda leads the Teatro Regio Torino in a concert performance of Rossini's William Tell that offers enormous variety without quite hitting the bull's eye.
Sir John Eliot Gardiner conducts the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir in a late night performance of Beethoven's Missa Solemnis at the BBC Proms.
Leonidas Kavakos's technical mastery and musical sensitivity work beautifully with the Royal Concertgebouw Orchestra to produce shimmering brilliance.
Lundi 25 août à 21h, dans le cadre du festival de La Chaise-Dieu, l’ensemble Correspondances de Sébastien Daucé proposait à l’église des Carmes du Puy-en-Velay un programme consacré à l’œuvre de Charpentier. Une lecture extrêmement profonde d’un répertoire encore largement méconnu.
Jac van Steen and the Ulster Orchestra attempt to entice new audiences to classical music, with mixed results.
Fischer and his Budapest Festival Orchestra gave a breath-taking performance, with concentration and class.
Catherine Foster's Brünnhilde bathes Bayreuth's Siegfried in a warm glow, while Wolfgang Koch sings a superb Wanderer. But director Frank Castorf does his best to subvert both.
A gladiatorial setting of one man, one piano, two thousand spectators: the piano's slightly rakish angle was going to allow a few hundred more people to see András Schiff's hands in action.
Pianist Louis Schwizegebel's captures Mozart's subtlety. But the same virtue was sorely missing in Strauss' profound Metamorphosen.
Wer glaubte, sich für einen entspannten Kammermusikabend gemütlich in seinem Sitz zurücklehnen zu können, der wurde schnell mit einem Brahmsschen Scherzo eines Besseren belehrt.
The Presteigne Festival went Polish this year with an enterprising perspective of contemporary and post-war works including the world première of Paveł Łukaszewski’s newly commissioned Requiem.
A superb account of Dvořák's Cello Concerto from Alisa Weilerstein outshone Beethoven's Symphony No. 7 under Jiri Bĕlohlávek's baton at the Proms
This has been a stunning production of Satyagraha, which delivers a rich spiritual, almost transcendental, experience, concluding a remarkable triple performance of Philip Glass’ portrait operas.
Tokyo Komaki Ballet, a company intricatelly tied to the Ballet Russes, performed three of its works, Afternoon of a Faun, Prince Igor and Petrushka.
The Takács Quartet in an engaging programme of works referencing murderous marital strife, life-threatening illness and recovery – and less harrowing inspirations.
A blazing performance by violinist Patricia Kopatchinskaja and a mildly disappointing Mozart Requiem round off New York’s annual Mostly Mozart Festival
Peter Broadbent and the Joyful Company of Singers return to the Presteigne festival for an enterprising programme of unfamiliar 20th-century choral repertoire.
Does the classical warhorse that is Petipa's Don Quixote suit Hong Kong Ballet's 40-strong troupe? Guest dancers Anna Tsygankova and Matthew Golding are the highlight of this new, two acts Ananiashvili production for the Hong Kong Ballet.
In a concert career lasting over 35 years, Murray Perahia has been a guest soloist with many orchestras. But his engagement with the Academy of St. Martin-in-the-Fields is a special one, since he is also the orchestra’s principal guest conductor, and their playing is so immaculate that not even technichal issues can distract from an incredible performance.
Kirill Petrenko starts Die Walküre with a flourish as Frank Castorf’s staging takes us back to the Baku oilfields in late tsarist Russia.
The Iceland Symphony Orchestra give an assured performance in their debut concert at the Proms, most successfully in the new compositions of their compatriots.
The Youth Orchestra of Upper Austria under Rémy Ballot play Bruckner's 8th with extended intensity at the monastery of St Florian.
The Czech Philharmonic serve up a home brew which proves a heady mix in Edinburgh's Usher Hall
Friday’s concert served as an interesting showcase of music that, undeservedly, isn’t performed too often. Even though the performances were somewhat lacking, the quality of the music shone through.
In this second year of Bayreuth's bicentennial Der Ring, Oleg Bryjak shines as an outstanding Alberich. Frank Castorf's production is striking but as yet incomprehensible.
Einstein on the Beach is the second in the Philip Glass Portrait Trilogy given a new exciting production by State Opera of South Australia.
An unrepeatable performance of Britten's profound choral masterpiece, the War Requiem, conducted by Andris Nelson at the Proms.
The musical objects ranged from Phyllis Chen’s custom music-box to a Chinese food take-out box that sounded as if birds were chirping inside. Occasionally, the amalgam of twinkling noises was joined by a titter of laughter from the fascinated audience.