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

Langeweile gibt es bei Anna Netrebkos Liederabend bei den Münchner Opernfestspielen auf keinen Fall.

Ein Kriegspferd in der Royal Albert Hall: die BBC Proms erinnern an den Beginn des ersten Weltkrieges - mit einem kinderfreundlichen Programm und vierbeinigen Gästen.

Music by a Scottish composer leads the Berkeley Ensemble's programme at the English Music Festival in Dorchester-on-Thames. 

Dans la Salle Louise du superbe Domaine Pommery, le duo s'est montré particulièrement éloquent dans un programme qui allait de Schubert à Fauré en passant par le méconnu Frank Bridge.

La pianiste Diana Cooper a inauguré au Koïfhus la série de récitals consacrés aux jeunes talents, tandis que Bruno Philippe et Cédric Tiberghien ont ouvert le bal des concerts de musique de chambre.

Two dozen heroes played one of the house composer’s most intense and technically demanding scores with bravura skill and a collegiate musicality that stirred the spirit.

One of the most appealing features of the concert was the friendly and casual nature with which these two young musicians presented a concert of relatively lesser-known works for cello and piano to a mostly young audience.

A strangely intimate window into almost private chamber performances from the Kanneh-Mason siblings.

Allan Clayton came to town and he brought his best voice with him.

It’s been 97 years since The Cleveland Orchestra performed Frank Bridge’s The Sea, but this weekend’s performance was worth the wait. Paul Dukas’s evergreen The Sorcerer’s Apprentice received a precise and jovial performance.

Netrebko put together a potpourri showcasting her immense vocal gifts as well as her versatility.

English choral classics from 100 years ago, contrasted with a confident and effective new piece by Laura Mvula, all given strong performances by the BBC Singers and Sakari Oramo.

In this afternoon Prom, Joshua Bell disappointed as a conductor. As a soloist, however, he came up with the goods.

The perfect invitation to daydream on a hot afternoon. 

The LPO gave us a tantalising reminder of summer before plunging us into the icy chill of Tchaikovsky’s Winter Daydreams. 

In Japan, it is often said that “chamber music doesn’t sell”, but in fact the past month has been an exciting time for chamber music in Tokyo.

Mixed performances from this well-known ensemble, but overall fine playing that showcased the genius of Haydn and beauty of Frank Bridge.

Having recently retired after a herniated disc weakened his bowing arm, Julian Lloyd Webber took to the stage last night at St George’s, Bristol as part of a tour he had created to tribute and reflect upon his performance career as one of the world’s leading cellists.

Madrigals and Folksongs: the King's Singers entertain and delight in a progromme spanning 400 years with glorious singing. 

Part of Lincoln Center’s Great Performers series, Matthew Polenzani's programme impressed. Beginning with Beethoven, he made his way from German to French by way of Liszt, then carried on with Satie and Ravel, and finally wound down the concert with a set of Samuel Barber songs and some lovely encores.

In a well constructed programme of Sibelius, Maxwell Davies and Bridge, good energy and many moments of beautiful orchestral playing are marred by timing errors and dynamics.

Tonight, on Benjamin Britten’s birthday 100 years to the day, Llŷr Williams performed a selection of Britten’s piano music alongside works by Haydn, Bridge and Schubert, in a concert concluding the Gregynog Festival.

Pre-concert talks need not brim with revelation to be rewarding. Another’s perspective can be enough to alter perception of a programme and resonance thereafter. Such was the case with Dr. Elaine Kelly's talk before this SCO concert entitled “The Pity of War”. Key to reflections on the relationship between war and music was diversity of approach.

As part of the City of London Festival 2013, the Nash Ensemble delivered a varied mixture of works loosely connected by the ubiquitous Britten theme. This hotchpotch-style approach has worked very well indeed for the Nash for nearly 50 years, and tonight’s concert was no exception.

The fourteen-year-old Benjamin Britten was already a prolific young composer, albeit without any formal training, when he heard Frank Bridge’s The Sea at the 1927 Norfolk and Norwich Triennial Festival. Hearing this performance and also meeting Bridge (who later became his composition teacher) were seminal events in the youngster’s life.

The centenary of Britten’s birth has seen a surge in performances of his music both in the concert hall and on the stages of many a noted opera house. Sensationalised biographies, radio and television programmes, and a number of Britten-centred festivals have helped to pique further interest in a composer whose music tends to attract a love-hate relationship with its listeners.

The centenary of Benjamin Britten continues to gather pace as we move through February and it was a warm welcome given to the Aronowitz Ensemble for an all-English programme of chamber music on Friday evening.

The sea has been the inspiration for many concert works; Debussy’s La mer springs to mind immediately as perhaps the most popular, but in England during the first half of the 20th century nautical themes sustained an important presence. Amongst Delius’ Sea Drift, Vaughan Williams’ A Sea Symphony and Britten’s Four Sea Interludes sits Frank Bridge’s short and splendid suite The Sea.

A very interestingly programmed concert, this. Two Finnish and two English composers, all represented with pieces that to a greater or lesser extent are programmatic. First we heard Delius' "Walk to the Paradise Garden" from his opera A Village Romeo and Juliet (here arranged by David Lloyd-Jones).

In her opening words to this evening’s presentation of Kathleen Ferrier’s life and letters, Diana Moore said that Ferrier was an inspiration to every mezzo-soprano or alto who came after her, and despite its flaws, this concert was clearly a heartfelt tribute to a truly great singer, by one who has learned from her.

It is inevitable that one of the most beloved of orchestral instruments, the cello, will entice a diverse crowd of enthusiastic concertgoers – and that even in the midst of a recession, there prevails an inherent desire to depart from the self now and then for a ritualistic celebration of great music.

Frank Bridge, his pupil Benjamin Britten, and Ralph Vaughan Williams: three composers defined by their role in steering English music into the twentieth century. With Britten’s centenary approaching in 2013, Kings Place’s two-concert series of English string music was a timely reminder of the musical imagination that flourished in this country at the turn of the twentieth century.

Oliver Knussen has taken the BBC Symphony Orchestra on some interesting journeys during his relationship with them, as both composer and conductor. Of all these journeys, Prom 19 surely ranks among the most fascinating. Under Knussen’s masterful conducting, the orchestra and Claire Booth gave us a scintillating if sometimes overwhelming exhibition of six intense early Twentieth Century works.