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

In der Reihe „Barock+“ dirigiert Martin Haselböck eine gemischte Tüte aus Bach, Cembalo und nach-romantischen Komponisten mit reichem Erbe.

Jordi Francés encandila al Auditorio Nacional junto a la Orquesta Nacional de España con un repertorio a medio camino entre la modernidad y la tradición.

La réunion des maîtrises de Notre-Dame de Paris et de Radio France s'annonçait prometteuse ; malgré de très beaux moments, le concert a surtout été frustrant...

La violoniste, également cheffe d’orchestre, metteuse en scène et performeuse pour l'occasion, a proposé un concert rare et précieux dans la belle église de Saanen.

Dancing Dutch for Dutch National Ballet comprises four different works, not all by Dutch choreographers, which show off the depth and breadth of a company in great shape.

Conductor Emeritus Ludovic Morlot chose a thought provoking and unusual program for his first return to the Benaroya stage since 2019.

La muerte se convierte en la protagonista del segundo concierto del XXVI Ciclo de Lied, interpretado por el barítono alemán Matthias Goerne.

Programme de raretés à la Philharmonie : Michael Sanderling dirigeait pour la première fois l'Orchestre de Paris, dans les Jedermann de Franck Martin et la Dante-Symphonie de Franz Liszt.

The Scottish Chamber Orchestra also have a winner in a radiant Vaughan Williams Symphony no. 5.

Northern Ballet celebrates master choreographer Kenneth MacMillan with considerable style 

Hope can spin high-lying musical phrases with a sweetness and suspension that few of his contemporaries can match.

Frank Martin’s Le Vin herbé is as anti-Wagnerian a work as you could imagine. It is also the odd one out in Welsh National Opera’s “Love’s Poisoned Chalice” spring season.

Music, singing and movement blend together in a powerfully moving double bill of French Tragedy, Les Malheurs d’Orphée and Le Vin herbé  at the Royal Conservatoire of Scotland.   

L’Orchestre de Chambre de Genève captivé par le hautbois d’Alexei Ogrintchouk, aura vécu une exaltation passionante qui ne durera malheureusement que le temps d’une danse Martinienne et Marcellesque ! Subsistent de nombreux points positifs qui donnent beaucoup d’espoir au renouveau de cet orchestre. 

L'Orchestre de la Suisse Romande, entre individualités merveilleuses et manque de nuance généralisée! 

A blazing performance by violinist Patricia Kopatchinskaja and a mildly disappointing Mozart Requiem round off New York’s annual Mostly Mozart Festival

The title of the latest Sydney Symphony Orchestra concert was simply “Organ Symphony”, referring to the work which was to form the second half of the evening’s concert – Saint-Saëns’ “Organ Symphony” in C minor.

Franz Liszt Chamber Orchestra is no stranger when it comes to working with world-renowned soloists – their earlier collaborative roster includes the likes of Sviatoslav Richter, Menuhin, Rostropovich et al, but their rapport with Emmanuel Pahud is something that transcends musical partnership and wanders into the organically-knit companionship territory.

With all the new works put on by The Royal Ballet this year, we haven’t seen as much of Kenneth MacMillan’s choreography as usual. This triple bill of mid-century works is an in-your-face reminder of what an omission that is: Concerto, Las Hermanas and Requiem show MacMillan at his versatile best, and The Royal Ballet are on top form to match.

An anniversary is undeniably a time for celebration, a time to reflect on past accomplishments whilst keeping the future in close view. This was the case for Tafelmusik’s Chamber Choir on the eve of their 30th anniversary.

If the number of bare male chests exposed on the stage at Sadler’s Wells this week is meant to suggest a symbolic baring of the male psyche then the Dutch National Ballet (DNB) underwent a good deal of soul searching in their celebration of Hans Van Manen’s work. Their resident choreographer has created 120 ballets in his sixty year career and in this programme DNB performs five.