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

Geleitet von barockem Leipziger Vesperdienst, Kollegialität und eigener exquisiten Art des Singens, arrangierte sich die NBV als Engel und Hirten unter dem Licht Gottes – und Tilburgs Konzertsaal.

Im berühmten Hälfte des Lebens ließen die Stuttgarter Soprane das k der „klirrenden Fahnen“ so schnell und perkussiv übereinander prasseln, dass man das so entstehende Zähneklappern fast körperlich nachvollziehen konnte.

Het Collectief und Collegium Vocale Gent bieten einen eindrucksvollen zeitgenössischen Konzertabend.

Ein königlicher FEL!X-Auftakt, der das Herz Liebhaber historischer Instrumente höher schlagen ließ.

Dans le cadre imprévu du Palais des Congrès de Souillac, Félicien Brut, Lucienne Renaudin Vary et Thibaut Garcia ont enchanté le public, avant le concert plein de recueillement de Tenebrae avec La Sportelle.

ORA Singers directed by Suzi Digby in a spiritual performance contrasting ancient and modern sacred works performed in the historic St Kohn's Kirk, opening 2025 Perth Festival.

Au Festival de Quatuors du Luberon, l'ensemble constitué de quatre musiciens de différents pays d'Europe a livré une interprétation inégale d'un programme qui allait de Roland de Lassus à Benjamin Britten.

Conçu par Leonardo García Alarcón, ce programme original est magnifiquement servi par cinq chanteurs de haut vol et une Cappella Mediterranea attentive.

Solistas de Les Arts Florissants junto a Paul Agnew en la dirección ofrecieron una selección del Libro IV de madrigales de Gesualdo y otros compositores contemporáneos.

Les Arts Florissants presenta una nueva entrega de su proyecto consagrado a los libros de madrigales de Carlo Gesualdo y demuestra nuevamente sus sobrados recursos para hacer frente a este complejo repertorio.

VOCES8 perform choral music spanning 800 years, including a BBC commission from Alexia Sloane, with great energy, articulation and virtuosity in an impressive Proms debut at Cadogan Hall.

En la obra de Gesualdo no hay misterio que resolver, sino un camino complejo, pero trasparente que nos devuelve, al final del recorrido, una imagen lo más completa posible. Y los medios para conseguirlo han de ser el rigor, el conocimiento profundo de las fuentes y una mesura ejemplar para lograr devolvernos el magnífico entramado polifónico.

Peter Sellars' dramatised production of di Lasso's Lagrime di San Pietro is stunningly sung by the Los Angeles Master Chorale, but the dramatic element causes problems.

The Sixteen launched us into the final days before Christmas with a well-thought out and diverse combination of songs on The Three Kings.

The BBC Concert Orchestra and Barry Wordsworth were joined by Stile Antico, Jack Liebeck and Christine Rice in an exploration of the musical mind of fictional detective Sherlock Holmes. 

The Italian male choir Ensemble Adhecaton gave a wonderful performance of Renaissance motets and Palestrina's Missa Papae Marcelli at the Oslo International Church Music Festival.

Written in 1594 and published posthumously in Munich the following year, the Lagrime de San Pietro was Orlando de Lassus’ final composition.

Celebrating their 40th anniversary year, The Tallis Scholars presented a programme of Renaissance polyphony centred around another anniversary – that of Carlo Gesualdo, the 400th anniversary of whose death falls this year. The first half of the concert was a complete performance of Gesualdo’s masterpiece, the Tenebrae Responsories for Holy Saturday (1611).

Entitled “Passion and Resurrection”, this exquisite concert from Stile Antico unfolded as an exploration of music written in response to Holy Week.One of the group’s most striking characteristics is their decision to work without a conductor, a move which can at times produce chamber music of the highest quality.

“Please silence all electronic devices and refrain from talking. This evening’s program will be presented without intermission or breaks for applause. It is our hope that this structure will assist in providing a meaningful experience...

I Fagiolini is a vocal group I have been trying to see live for quite a while now, so I was extremely excited to be attending the London offering of Insalata I Fagiolini at Cadogan Hall.

The theme of tonight’s concert, revealed the programme notes, was that of “marking time and preserving timeless values” – Christmas being a season that connects the past with the present.

The King’s Singers epitomise a cappella musicianship. The group was originally formed in the 1960s by choral scholars of King’s College, Cambridge (and one from Christ Church, Oxford), but its current membership includes members who were previously choral scholars at Oxford, and even one member from New Zealand.

By calling this year’s Choral Pilgrimage tour The Earth Resounds and including excerpts from a piece known as the “Earthquake mass”, Harry Christophers and The Sixteen created an expectation of drama and excitement before they’d sung a single note.

In the spare modern elegance of Hall One at Kings Place, choral octet Platinum Consort, under the direction of their founder and conductor Scott Inglis-Kidger, gave an impressive and impeccably presented performance of works from their critically acclaimed recording In the Dark, written for, or inspired by, the Tenebrae tradition.

Trendy titles and taglines are more or less a given at classical concerts nowadays, but that doesn’t prevent me feeling a twinge of resentment each time pieces are pigeon-holed into a concert ‘narrative’. Thus it was with a certain trepidation that I headed to Southwark Cathedral for ‘The Knight and the Lady’, a concert of sacred vocal music performed by the New Renaissance Voices.