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

Frisch gebackener Ritter Măcelaru legt mit Di Castri, Lutosławski und Orff zündende Lunten eines in sich stimmigen Geburtstagsfeuerwerks.

Romeo Castelluccis intensive Inszenierung von Bartóks Oper kommt in der Aufführung unter Teodor Currentzis voll zur Geltung, während sich Carl Orffs Oratorienoper De temporum fine comoedia wie ein langweiliges Füllstück anfühlt.

Zum Jahresende boten die Musiker mit Orffs Carmina burana und Beethovens Neunter gleich zwei Reißer im Repertroire.

Statt fröhlicher Fledermaus zu Beginn und epochalen Carmina am Abschluss gab es Carmina Burana in zwei Teilen mit Fledermaus-„Zugaben“.

La Orquesta ADDA Simfònica se presentó en Madrid junto al Orfeón Donostiarra en un contrastante programa que resolvieron de manera brillante con Josep Vicent en la dirección.

À la tête de l'Orchestre de Paris, le chef colombien propose une lecture énergique de l'œuvre de Carl Orff, au détriment des subtilités de la partition. Les solistes se distinguent.

For his performance of Mozart's C major Concerto, Emanuel Ax plays a new concert grand designed by the late architect Rafael Viñoly.

Des choix de tempos de Kazuki Yamada au manque de subtilité et de précision de l'Orchestre National de France, l'œuvre de Carl Orff n'a pas bénéficié de l'inspiration espérée.

Psalm 150 and a collection of outrageous 13th-century texts by boisterous young clergyman collide at the Royal Albert Hall in the City of Birmingham Symphony Orchestra's Prom. 

Andris Nelsons highlights the spirited wit of Orff's orchestration, but inconsistent singing from soloists and chorus leaves something to be desired.

Carl Orff's bawdy choral work shares a program with the sweet and sincere Credo, a rediscovered work by the American composer and arranger Margaret Bonds.

Adam Hougland's premiere of Carmina Burana in Kansas City. 

A good audience turnout for the opening of Noseda's third NSO season justifies an all-20th-century program centering on Carl Orff's popular and direct setting of medieval poems about real life and fate, but also presenting gentler works of religious reflection.

A fresh and compelling performance of Carl Orff’s classic. Aaron Copland’s rarely-performed Statements filled out the orchestra’s last concert performance at the Blossom Music Festival for 2018.

Torrential downpours and the croaking of consumptive frogs fail to dampen spirits at Wolf Trap's National Symphony Orchestra concert featuring pianist Seong-Jin Cho, JoAnn Falletta and a massive community chorus.

A crowd-pleaser is joined by a Szymanowski rarity to close the TSO's season. 

In a delirious opening to the new opera season, Prague's National Theatre puts a contemporary spin on Carl Orff and the Brothers Grimm.

Kent Nagano and OSM wowed with cerebral approach to Carmina Burana.

Canadian conductor Jacques Lacombe led the Boston Symphony Orchestra in a Debussy, Ravel, Orff program.

Webre's ends his tenure at the Washingotn Ballet not with a whimper but a bang. 

Saint-Saens' “Dance of Death” and Orff's gaudy, medieval satire framed a stunningly-realised new commission from Guy Barker, with Alison Balsom playing against type. 

L’interprétation des Siècles Romantiques sous la direction de Jean-Philippe Dubor célèbre le rythme avant toute chose

PNB presents Ratmansky's Concerto DSCH together with Kent Stowell's Carmina Burana in their final program of the season.

Celebrating 20 years as Artistic Director of Birmingham Royal Ballet, David Bintley brings the company to London, where Balanchine’s Serenade acts as a delicate sorbet before the excesses of Bintley’s own Carmina burana.  

This was the first time I've been to a concert with a 10:30 kick-off, but then this was the first of its kind. Nor did the inaugural Sport Prom turn out to be merely a game of two halves...

The Chicago Opera Theater pairs two one-act operas from 1943 - Viktor Ullmann's The Emperor of Atlantis and Carl Orff's The Clever One - in a program conducted by Francesco Milioto and directed by Andreas Mitisek.

National Ballet of Japan performed artistic director David Bintley’s double bill of his works, Faster and Carmina Burana and they were successful in intepretating the humor and irony conceived in the two innovative pieces.

San Francisco’s dance performance pickings are sparse in September, for such a cultured, cosmopolitan city, amid the seasonal return of the symphony and the opera. Thank goodness for October and the Smuin Ballet, which provides hungry-for-dance patrons with a feast of a performance. This year Smuin Ballet celebrates its 20th anniversary season.

The Orchestre de Paris’ 2013/14 season opened with a cymbal crash. Orages (meaning “thunderstorms” in French) was commissioned by the Orchestre de Paris to the Lebanese composer Bechara El-Khoury. In this musical storm, sounds hurt each other, as if superimposed.

When Cleveland Orchestra music director Franz Welser-Möst had to bow out of this past weekend’s performances of Carl Orff’s Carmina Burana due to a recent back injury, the orchestra’s talented young assistant conductor, James Feddeck, inherited a high-profile assignment. The set of four concerts had been heavily promoted and were sold out.

The inter-war years produced some of the most dynamic and popular choral works that have been composed since the 18th century. Tonight’s London Philharmonic Orchestra concert, conducted by Hans Graf, combined two very different results of this flowering. Both masterpieces in their own way, they unexpectedly complemented each other and made for an entertaining concert.

One of the pleasures of attending live concerts is discovering sounds that recordings often mask or fail to highlight. Occasionally, the sheer enormity of the experience can be so stunning that I reel from it for days. The “2013 Season Special Event” of the Sydney Symphony Orchestra on Thursday was one of those occasions.

What a stark contrast between the visual and the aural at last Thursday’s concert at the Hollywood Bowl. On stage was the 79-year-old conductor Rafael Frühbeck de Burgos, appearing frail as he shuffled towards the podium; the gauntness of his features accentuated by his suit which hung loosely from his frame.

If ever a concert could be described as a firework, this was it. The stage was ignited with music and we waited for the best bit - that crucial, beautiful explosion of colour. As part of the Colston Hall’s International Classical Season, The Bournemouth Symphony Orchestra performed the iconic choral work Carmina Burana by Carl Orff (1895-1982).

Those of us who are regulars at the Royal Albert Hall know how difficult it can be for an orchestra and choir to really fill that enormous space with sound.