Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Carter

Unter dem Thema „Letzte Werke aus 100 Jahren Moderne” gastierte das London Symphony Orchestra unter Sir Simon Rattle mit Isabelle Faust in der Elbphilharmonie.

Ein Abend voller Nummer Einsen, so sieht das Debüt von Dirigent Andrés Orozco-Estrada im Großen Festspielhaus aus. Mit viel Witz und Charme dirigiert er die Wiener Philharmoniker durch Erste Sinfonien von Schubert, Mozart und Elliott Carter und bringt frischen Wind ins Programm der Mozartwoche.

Martyn Brabbins and Claire Booth are among the Nash Ensemble's regular collaborators celebrating the group’s 60th Anniversary, marked by four world premieres.

With works by Carter, Reich, Taira and Bartók, the young percussion trio gives us a fine survey of the past century’s musical variety.

When it was announced from the stage that Gustavo Dudamel would not be conducting due to a "family emergency," the orchestra played for Conducting Fellow Stephen Mulligan as if he were a maestro.

La première édition du festival « Pianos, pianos » s'achevait lundi au Théâtre des Bouffes du Nord. Retour sur cet ultime concert placé sous le signe de la virtuosité.

A great programme of varied but accessible 20th-century music excites in spite of its imperfections; Faust gives a beautiful, introspective reading of the second Berg concerto.

Oliver Knussen and the Birmingham Contemporary Music Group excel in a cunningly linked group of works from the old (mid 1980s) to the brand new.

This Late Night Prom was a fitting way to remember the man. Such events draw a lighter scattering of musical night owls, minimising the hall and allowing for meditative concentration.

Forward-looking programme celebrates contemporary repertoire, with two world premières in a concert of works written within the last 35 years.

James Levine led the MET Chamber Ensemble through a remarkable performance of Carter's The American Sublime, whose scattered yet distinct clouds of sound evoked the warmth, irony, and philosophical musings of the texts.

A clever programme of mid-20th century American music by Carter, Copland and contemporaries, watered down with a light sprinkling of Arlen and Gershwin.

Two works composed in the past two years, one by a 28-year-old, one by a 103-year-old. Each offered such a wide span of sounds that within a half hour, the audience had been whisked through every imaginable mood.

The contemporary music festival Milano Musica is this year dedicated to the works of Morton Feldman, a man who professed to be more influenced by contemporary art and Persian rugs than he was by other music. The concert took place in Gallerie d’Italia, a former bank now a contemporary art gallery, and pulled together pieces for violin and piano by Feldman and his American contemporaries.

It’s time to stop talking about James Levine’s comeback. After a scintillating return to Carnegie Hall in May and a fleet, immaculate Così fan tutte at the Metropolitan Opera in September, Levine has proven what he never really had to: his powers have not waned in his absence from the podium. Given sensible scheduling and interesting repertoire, we can focus once again on his music-making.

It can be difficult to focus on the music at (Le) Poisson Rouge, a venue “serving art and alcohol” on Bleecker Street in New York. During any of their widely varied avant-garde and new music sets, you will hear forks clinking against plates and see waiters striding across the space to deliver drinks to the audience members, seated around tables or at the bar.

On Wednesday night, a group of young artists coached by John Adams and David Robertson warmed up on the stage of Carnegie Hall’s Zankel Hall. The snatches of the music we were about to hear – from cinematic melodies to jaunty dance-like snippets – jumbled together as one usually expects of a warm-up.

International Contemporary Ensemble’s debut London concert was a small-scale affair, tucked away in Hall 2 of Kings Place on a Sunday afternoon. But this talented group still gave us a great taste of why they’re such big news in the United States, with a pleasantly varied programme of new and recent music curated for them by Londoner and long-time collaborator Dai Fujikura.

On Thursday night, I reviewed the vast forces of National Youth Orchestra, playing big colourful works by European exiles in 1930s America.

Inspiration for a composition can come in many forms; a letter from Clara Schumann, the brutality of Stalin's police, growing deaf or hearing birdsong. The final concert of John Adams’ short residency at the Barbican focused on a more reverent strain of influence, however: the peculiar tendency for living composers to want to reference dead ones.

It’s pretty rare for a major concert hall to program more than ten minutes of music that was composed post-1900, and it’s even rarer to see an entire program of music that was composed post-1900. But at Carnegie’s Zankel Hall Monday evening, that’s exactly what the audience was treated to, courtesy of pianist Nicolas Hodges. Mr.

Elliott Carter was a real maverick composer. Born into the era of Igor Stravinsky, Charles Ives and Arnold Schoenberg, Carter went onto to create an exciting world of new music in the 20th and 21st century. Never slowing down, Carter composed over 40 new works between the ages of 90 and 100. The result: Carter’s music is current and exciting today... and he has an incredible repertoire of music.

Anyone who worries for the health of contemporary composition obviously wasn’t at the Southbank Centre this Sunday, where the London Sinfonietta presented a whole afternoon and evening’s worth of new music in and around the Queen Elizabeth Hall.

When I first settled into my red velvet seat at Carnegie Hall, my excitement was overtaken by a grim foreboding. The hall’s internationally celebrated acoustics were offering an all-too-dazzling earful of sneezes and sniffles – a fact I observed in a germaphobic panic.

Contemporary music ensembles can be rather nebulous entities, their repertoire often necessitating complete line-up changes between pieces and the "whole" of the ensemble rarely being needed at the same time.

It seemed fitting that the Calton Consort's Tenth Anniversary Concert should also be a celebration of the genre they have made their own - contemporary music. Under the direction of Jason Orringe - conductor since its foundation - the choir offered a very varied programme of choral music by living composers, ranging in age from 41 to 103.

You might think that a programme containing Bach and 20th/21st century composers would suggest an evening of unconnected extremes. Nothing could be further from the truth in the case of Jennifer Koh's Bach and Beyond recital, given in Lennoxlove House, Haddington as part of the Lammermuir Festival.