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Composer: Adès, Thomas (b. 1971)

Fact file
Year of birth1971
NationalityUnited Kingdom
PeriodContemporary
September 2018
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Evening performance
Matinee performance
Upcoming eventsSee more...

LondonAdès conducts In Seven Days

Adès conducts In Seven Days
Stravinsky, Adès, Lutosławski
London Philharmonic Orchestra; Thomas Adès; Kirill Gerstein

LondonTwo-Piano Marathon

Two-Piano Marathon
Schumann, Bax, Poulenc, Stravinsky, Debussy, Adès, Rachmaninov
Stephen Kovacevich; Margaret Fingerhut; Katya Apekisheva; Charles Owen

LondonLate Style – Imogen Cooper

© Sussie Ahlburg
Haydn, Adès, Beethoven, Schubert
Imogen Cooper, Piano

BaltimoreImogen Cooper, piano

Imogen Cooper, piano
Haydn, Adès, Beethoven, Schubert
Imogen Cooper, Piano

LondonOld Bones – Aurora Orchestra with Iestyn Davies

© Simon Weir
Satie, Adès, Debussy, Muhly, Dowland, Brahms
Iestyn Davies; Sally Pryce; Principal Players of Aurora Orchestra
Latest reviewsSee more...

Variations on brilliance: the ACO in Sydney

Members of the ACO © Gary Heery
The title of the latest programme by the Australian Chamber Orchestra is simply: Goldberg Variations. While Bernard Labadie’s ingenious arrangement of JS Bach’s Goldberg Variations for string orchestra takes up all of the second half of the programme, the first half was no less interesting.
*****
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Musical polymath and nonpareil violinist share a Tanglewood afternoon

Thomas Adès © Hilary Scott
Teztlaff’s ability to bring freshness and an enchanted inner life to even the most trodden of musical works is unsurpassed.
****1
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Stravinsky’s Perséphone brought to life by Adès and Barry

Thomas Adès © Brian Voce
Glistening performances by the London Philharmonic Orchestra and combined forces under Thomas Adès bring to life Stravinsky’s Perséphone, with fiery premières of works by Adès himself and Gerald Barry.
****1
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Powder Her Face is gloriously kinky in Dublin

Mary Plazas (The Duchess) and Adrian Dwyer (Waiter) © Pat Redmond
Top accolades go to soprano Mary Plazas, whose Duchess was at once despicable for her sense of entitlement and her racist and anti-Semitic views, and heartbreakingly vulnerable with her realisation at the end that "the only people who were ever good to me were paid for it".
*****
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Balancing longueurs and invention

Hilary Hahn, Yannick Nézet-Séguin and the Philadelphia Orchestra © Steve J Sherman
Three works performed by the Philadelphia Orchestra and Yannick Nézet-Séguin included few novel musical ideas relative to their lengths.
***11
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