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

Eine fein abgestimmte, etwas weichere, anregende Interpretation der Messe zur Feier des Early Music Day.

Mit dem Verdi-Requiem gelingt Gardiner mit dem ORR und dem Monteverdi Choir ein überwältigendes Totendrama.

Ohne den verständlichen Ermüdungserscheinungen in diesen verrückten Kämpfen, wäre Il Giardinos Konzert zum Abschied ein brüllender Rausschmeißer ohne jeden „Abzug“ gewesen.

Mit Haydn demonstriert Antonini im ersten Konzert Verlust, Überleben und Hochleben sowie fügt Il Giardino Armonico eine spezielle Folge seines Porträts hinzu.

A new Ukrainian opera brings tragedy and hope to the stage of the Polish National Opera in an outstanding world premiere. 

Two distinctly different stories represent women's right to freedom in Delusions, Izadora Weiss’ latest full-length work for Polish National Ballet.

The Polish National Opera's first staging of Strauss' massive fairy tale feels like a bold statement of intent.

In Prometheus, Krzysztof Pastor has created an epic full-length ballet for his company which serves to show-off a roster of powerful principal roles as well as a fine ensemble.

Two very popular comedy ballets to celebrate the music of Stanisław Moniuszko.

Polish National Ballet has a successful new family ballet in Anna Hop's full-length Pinokio.

Dans un programme qui va de Haendel à Adès en passant par Haydn, Beethoven et Liszt, le pianiste ukrainien impressionne par sa science du son, sa puissance, son génie de la caractérisation.

A rich mix of pure dance and powerful music shows the company in very fine form towards the end of a demanding season.

There is no specific spotlight in any of the pieces. In all three, the choreography is shared and there are no grand solos or flashy principals to steal attention. 

Don Quixote is a sunny ballet that is impossible not to enjoy, which here provided an evening of great skill and joyful entertainment. 

A fascinating programme of opera and dance to celebrate the 70th anniversary of the Baltic Opera House. 

Prokofiev's score is reordered, the choreography is contemporary, characters are missing, and each of the three main scenes is set during a different 20th-century time period... yet, to a certain extent, it works.

Marin Alsop conducts the Polish National Radio Symphony Orchestra in colorful repertoire including a concerto by Stanisław Skrowaczewski. 

The highlight of a week-long musical project of the Szczecin Philharmonic entitled We are at home, a celebratory performance of Górecki's Symphony No. 3 by Szczecin Philharmonic Orchestra under the baton of Wojciech Michniewski.

Eiji Oue doesn't quite convince in Bernstein and Copland, but Samuel Barber's Violin Concerto proves a winner. 

Debussy's early cantata is played with verve by NOSPR but exposes its composer's inexperience; Mansurian's memorial to genocide shows off the exceptional musicianship of the RIAS Kammerchor.

A stellar performance of Mahler’s cosmic Third symphony reinforces the reputation of Katowice as a bone fide member of the premier European music league.

Warsaw Philharmonic celebrates the 100th anniversary of Polish independence with performances of great local composers – Lutoslawski, Szymanowski and Szabelski – and Debussy’s La Mer for good measure.

Mozart was supposed to be the composer of La clemenza di Tito but it was really a critical edition of Metastasio’s opus by Teodor Currentzis.

A concert at the Andrzej Markowski International Wratislavia Cantans Festival that was anything but traditional or predictable.

Jean Tubéry’s virtuosity as a maestro di cornetto made up for disappointing vocalism in Monteverdi’s Vesperis in Festis Beata Mariae Vergine

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

The fabulous new Narodowe Forum Muzyki in Wrocław presented a very original Silvester offering of Szymanowski, Grieg and Dvořák.

Visionary director Marek Weiss ends his tenure at Opera Bałtyka with a powerful and uncompromising take on one of Poland’s most important modern operas.

Given the spate of visually distracting, if not irksome productions which seem to blight the opera world these days, there is something to be said for concert performances.

Britannia rules the waves on the LSO’s tour of Eastern Europe. 

Polish premières of two important French choral works featured Jean-Luc Tingaud and the Krakow Philharmonic Orchestra and Chorus in idiomatic performances.

Strong musical performances, but Ivo Van Hove’s Powerpoint presentation of Clemenza at the Teatr Wielki is out of focus.

Belle découverte de l’œuvre et de la vie d’Andrzej Czajkowski à la Philharmonie de Varsovie pour clôturer ce mois de novembre en beauté.

C’est au tour du Centre Culturel de Katowice de soutenir la création de Pawel Mykietyn : l’opéra La Montagne Magique, commandé par la Fondation Malta pour son festival en juin dernier, à Poznan.

Le Lauréat du Second Prix du Concours Chopin 2015 nous a offert une soirée entièrement dédiée au compositeur polonais dans la nouvelle salle de l’Orchestre de la Radio Polonais. Une très belle soirée.

Les musiciens de Saint-Julien nous présentent un concert entièrement dédié à la musique écossaise dans le vieux château Zamek de Poznan pour le premier jour du Festival Poznan Baroque.

L’orchestre symphonique du Forum National de la Musique à Wroclaw donne un concert passionnant, plein de rebondissements sous la baguette du japonais Eiji Oue.

Le chœur de chambre Collegium Musicale nous offre une soirée entièrement dédiée à son compatriote Arvo Pärt, qui fait hommage au chant choral.

Le Centre de Musique Krystof Penderecki de Luslawiceen (Pologne) accueillait le Lahti Symphony Orchestra parti en tournée avec un programme entièrement finnois : Jean Sibelius et Jaakko Kuusisto. 

Baroque opera in Poland is similar to the legendary Nazi treasure train. There are lots of stories about it, but like the train, its true existence seems speculative.

Ivo Pogorelić’s return to Warsaw thirty-five years after his triumphant failure in the 1980 International Chopin Piano Competition should have been an occasion for great expectations. Sadly it was more like Hard Times.

Although nominally a Polish Festival celebrating the music of Frédéric Chopin, there was lots of Tchaikovsky on offer at this year’s event. Leading the foreign charge was the Russian National Orchestra under the direction of their mercurial maestro Mikhail Pletnev.