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

Leonidas Kavakos und Yuja Wang scheinen auf den ersten Blick vielleicht wenig gemeinsam haben, doch schon nach der ersten Brahms-Sonate ist klar: diese beiden Musiker passen perfekt zusammen - und zu Johannes Brahms.

Isabel Karajan präsentierte bei den Osterfestspielen Salzburg ihre Auseinandersetzung mit Schostakowtisch und russischen Autoren, die unter dem stalinistischen Regime litten; heraus kam eine spannende Kollage über die Angst. 

Mit dreißig Stunden Dauer bot "The Long Now" einen passend monumentalen Abschluss des MaerzMusik-Festivals.

Bei „Klassik vor Acht” geben zumeist junge Nachwuchspianisten etwa einstündige Konzerte. Was Anna Gourari dabei aus den Tasten zauberte, war eigenwillig, feinsinnig, temperamentvoll, lyrisch, wuchtig, zart und energetisch zugleich - kurzum, eine Sternstunde der Klavierkunst.

Viele Fragen warf diese Eröffnungsveranstaltung auf, gab Denkanstöße und eröffnete neue Sichtweisen auf das Konzept Musik.

Klaus Doldingers Passport und die Nordwestdeutsche Philharmonie jazzen zwischen Tatort und Elfenbeinturm.

Darmstadt feiert bis tief in die Nacht. Man hätte sich zweiteilen mögen an diesem Abend, der zu gleicher Zeit rasante Musik mit dem Ensemble Dal Niente und kontemplativere Klänge im Sitzkissen-Ambiente bot und hernach auch noch zum Weitertanzen einlud.

Le Balcon, Maxime Pascal et un effectif pléthorique (notamment de chœurs d'enfants) sont à applaudir sans réserve pour la réalisation musicale de ce nouvel opus du cycle monumental de Stockhausen.

Fruit d’une série de trois résidences locales et de la collaboration entre les compagnies À bout de souffle et Avant l’incendie, cette relecture de L'Orfeo de Monteverdi est indéniablement vivante. 

Richard Tognetti’s absorbing programme mixed Bach’s Goldberg Variations with Stravinsky and Adès, played impressively and with characteristic exuberance and finesse by the Australian Chamber Orchestra.

NYVOS Next offers works by Alvin Lucier, Kaija Saariaho and evening curator Kate Soper in a program demonstrating both the breadth of and inherent risks in live performance with electronics.

It's not really an opera (or even an oratorio), but Ted Hearne's The Source is important and engaging.

An evening of frivolousness and solemnity.

Introduced by Southbank Centre’s artistic director, Jude Kelly, this latest instalment of The Rest is Noise festival felt like one of those events that rarely finds its way into the concert diary. A packed hall witnessed one of those feats of sheer physical, intellectual and emotional energy that you are unlikely to forget.

As I sat in the intriguing darkness of Koerner Hall, Marielle Labèque carefully placed the opening notes of Le fils des étoiles by Erik Satie. They hung in the air like little crystals. This was a simple beginning, yet deceptively so, that would build towards something larger. In turn, these notes would unfold in a continuous stream of build-ups and decays.

John Zorn doesn’t look 60. He looks 35, or whatever age it is where you’re still just about young enough to get away with wearing baggy camouflage pants. “And that’s how it’s done!” he yells through his mic at the end of the first half, over huge applause and cheering from this passionate Barbican audience.

From Studio to Stage was the name of this year’s summer performance by young artists on the Jette Parker programme at the Royal Opera House. The programme includes not only singers but also conductors/répétiteurs, a pianist, a lighting designer and stage director Pedro Ribeiro, who surely wins the prize for best headshot.

This past Saturday, I spent five hours in a great big room with a cold concrete floor that was brimming from end to end with sounds and images and people.

Dutch composer Simeon ten Holt passed away last November, and groups all over have been honoring his memory by performing what is perhaps his most well known composition, Canto Ostinato.

There are some musical compositions that have always been a bit of a gamble, for composers, performers and even listeners. They might be exceptionally difficult, require extraordinary forces, or show such originality as to be perpetually startling.

Minimalism is, according to some, ‘The most influential musical movement of the 20th century’. Whether or not this is a little hyperbolical, minimalism does certainly deserve real recognition and exploration, and Kings Place hence merits a great deal of praise for putting on the three-day ‘50 Years of Minimalism’ festival, curated by Igor Toronyi-Lalic and led on the stage by pianists Katia and M

Sometimes it seemed as though the sun would never set on Dawn. At nearly three hours long, it made for a blockbuster opening to the '50 Years of Minimalism' festival. Thankfully, the Labèque sisters, a rock ensemble, electronic keyboard and the obligatory tape machine on stage were brilliant company for the whole, overlong affair.

A split-level stage featuring an ornate stairwell and scaffolding was the setting for this the tenth Jette Parker Young Artists’ Summer Performance. Entitled ‘Veneziana’, the specially compiled programme embodied the visions of Venice dreamt by Rossini, Donizetti, Britten and Offenbach in six sets of Opera Scenes.