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The Nash Ensemble toasted its golden anniversary with a selection of golden French repertoire – some of it more familiar in orchestral form – at its Wigmore Hall gala.
Few composers deal in genial wit better than Joseph Haydn, so it was baffling that his opera buffa Il mondo della luna left me so grumpy in this English Touring Opera production.
Ivan Talijancic discusses L.A. Dance Project's New York debut, a Millepied - Peck - Forsythe mixed bill.
Laurence Cummings and Royal Northern Sinfonia round off their week of Bach concerts at Sage Gateshead with joyful orchestral music, and Bach's miniature comic opera.
Though Janine Jansen's Bartok impresses, Pappano and the LSO disappoint in two of Ravel and Tchaikovsky's best-loved works
Hervé Niquet présente au Théâtre des Champs-Élysées son interprétation de Castor et Pollux (version de 1754). Le premier opéra de la saison était attendu avec beaucoup d’impatience ; malheureusement, il n’a pas été à la hauteur de toutes les espérances.
Perfectly judged Brahms from the Schubert Ensemble, complemented by satisfyingly rustic Dvořák.
Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).
in Turin, British director Walter Sutcliffe sets Otello right in the middle of a never-ending battle and Gianandrea Noseda leads a passionate, rigorous account of the score.
The Bayerische Staatsoper's La clemenza di Tito features a bold staging, a talented cast of singer-actors, and a great orchestra. Time, place, and genders are all ambiguous, but none of that gets in the way of the story.
Gotham Chamber Opera's current double bill of Bohuslav Martinů's Alexandre bis and Comedy on the Bridge prove that an opera company doesn’t need to be the biggest in town to be the most innovative.
Le choix du programme, très homogène, s’est porté sur trois œuvres majeures du répertoire romantique pour violon et piano pour un récital dont on admire la perfection d'exécution.
Pretty Yende makes a successful New York recital debut at Carnegie Hall with a diverse selection of songs and arias.
Mit einem perfekt abgestimmten Programm begeisterte Elīna Garanča beim Auftakt ihrer „Meditation Tour‟ das Grazer Publikum.
With Back to Bach the Dutch National Ballet shows that Bach and ballet go together perfectly.
Colin Currie's all Reich programme included a world première, the Quartet for two pianos and two vibraphones, but the newer works were overshadowed by his epic 1985 Sextet.
Laurence Cummings and Royal Northern Sinfonia present Bach's musical world in miniature in a programme of chamber music by Bach and his contemporaries.
Director Andrejs Zagars went for a multimedia presentation of Salome modernised to the 20th century, which had its moments, but left serious questions about deviations from Strauss’ score built around Oscar Wilde’s play unanswered.
With wild abandon, slick partnering, and sensitive storytelling, Invertigo Dance Theatre presents After It Happened, a multidisciplinary theatre work of dance, acting, and live music and song.
At Manchester’s Bridgewater Hall, John Storgårds led the BBC Philharmonic Orchestra in performances of Sibelius’ Rakastava, Nielsen’s iconic Clarinet Concerto and Shostakovich’s ground-breaking Fourth Symphony.
With his one act opera The Rise of Spinoza Theo Loevendie wrought an attractive opera, that may well become part of the repertoire
A joyful atnmophere in this production, thanks to the colourful staging and godible singing cast.
Tristan und Isolde is notoriously difficult to bring off in the theatre, but under Daniel Barenboim's direction, Waltraud Meier, Peter Seiffert and an outstanding cast give a profoundly moving performance of Harry Kupfer's production at the Berlin Staatsoper.
Dans le cadre du festival Toulouse les Orgues, l'Orchestre du Capitole magistralement dirigé par Tugan Sokiev et Yves Rechesteiner en liaison depuis la cathédrale Saint-Étienne nous offrent un magnifique concert.
Coupled with its exquisite landscape, the mystery and legend that permeate Scotland’s atmosphere and history have inspired poets, artists and composers to capture its magic and distinctive folklore in evocative works of art.
Dans le cadre de la série « Pour la Jeunesse » au Théâtre de Chaillot, le Groupe Grenade présente Roméo et Juliette, l’une de ses compositions les plus récentes, conçue il y a un an à peine à l’occasion du festival Marseille-Provence 2013.
Stehende Ovationen für hochklassige musikalische Leistungen in Dmitri Tcherniakovs Produktion.
Soirée-événement en ce 10 octobre : un concert consacré aux musiques de films de Roman Polanski, et la remise du prix France Musique/Sacem de la Musique de Film 2014. Un bel hommage au cinéma par l'Orchestre Philharmonique de Radio France.
Mark Dendy weaves Greek myth with autobiography in his dance-play, Labyrinth, at Abrons Art Center.
A star-studded Alcina delights at the Barbican, though remains less than the sum of its considerable parts.
Richard Strauss' music has earworm qualities – this applies to his chamber music as much as his operas, as this evening with the Allegri Quartet proved.
The audience for Lucia di Lammermoor was treated to a young, very believable cast showcasing a star in the making in the form of New Zealand-born Samoan soprano Marlena Devoe.
The Canadian Opera Company's popular production of Puccini's beloved opera returns, its beauty intact and more beguiling than ever, with a powerful lead performance by soprano Patricia Racette.
À travers la nouvelle mise en scène de Pierre Audi, l'oeuvre de Puccini prend une dimension singulièrement symbolique. Le tout servi par une distribution remarquable.
Despite some staging problems, a Czech rarity gives the National Theater's new opera season a rousing start, with a vibrant score beautifully realized by conductor John Fiore.
Eine hörenswerte Begegnung von Klassik und Jazz abseits aller Klischees im Ludwigshafener BASF-Feierabendhaus
Bass-baritone Luca Pisaroni, in splendid voice and with great eloquence, traces the development of the Lied from Mozart to Schubert at the Muziekgebouw aan ‘t IJ in Amsterdam.
Australian Ballet takes Graeme Murphy's multifaceted <em>Swan Lake</em> to LA. A mad Odette, a baroness Von Rothbart as the prince's mistress and a pleasing blend of classical and contmeporary features.
Program Two of the Fall for Dance festival , at New York City Center, is an ionic choreographers' digest. With works by Child's, Forsythe (For Semperoper Ballet Dresden) Ramirez -Wang and Naharin (for Alvin Ailey American Dance Theater).
Kiril Karabits brings out the climaxes, in a solid performance of Bruckner's Seventh Symphony in Basingstoke, couple with Mozart's Clarinet Concerto.
Shadows of War Birmingham Royal Ballet's triple Bill which opened at the Birmingham Hippodrome early last week, shows the company's more serious side. With choreographies of MAcMillan, Lynne and Bintley
Scottish Chamber Orchestra's opening concert of Hosikawa's Harp Concerto and Mahler's Fourth was a study of man and nature. It also offered a welcome chance to hear mezzo Karen Cargill singing to her home crowd.
Fall for Dance's Program One features Black Grace, San Francisco Ballet, Russell Maliphant's choreography and the Mark Morrids Dance Group. A mixed bag, with Morris's Words the lovely cherry on the top!
Isabelle Faust fileuse d'or dans le Concerto pour violon de Brahms lors d'une soirée pétillante et festive à l'Auditorium de Lyon.
"Glorious Bach" offered up exactly what it said on the tin as Royal Northern Sinfonia, with their guest conductor, baroque specialist, Laurence Cummings delivered some of Bach’s happiest music in a radiant and unfussy way.
Sir Mark Elder conducts the Hallé in Shostakovich's Violin Concerto no. 1 with Viktoria Mullova and Ravel's Daphnis et Chloé at the Bridgewater Hall.
Much-loved favourites wrapped around an assured early Beethoven piano concerto with Elisabeth Leonskaja.
The concert also featured the world premiere of Matthias Pintscher's idyll and a Strauss favorite, Till Eulenspiegel’s Merry Pranks.
Jukka-Pekka Saraste and the Oslo Philharmonic give disappointingly cold performances of Brahms' Piano Concerto no. 1 and Tchaikovsky's Symphony no. 6.
Alan Gilbert consistently pulled warm and intense playing from all sections, and the energy exchanged between him and Lisa Batiashvili was palpable.