Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Emilio Pomàrico

Vier Komponistinnen und ein Komponist zelebrieren die unendlichen Möglichkeiten ein neugieriges Konzertpublikum herauszufordern und zu begeistern.

Mit migrants will Aperghis angesichts der Flüchtlingsschicksale in Europa nicht nur an die Toten erinnern, „sondern auch den Lebenden ein Gesicht geben“.

Emilio Pomárico und das Klangforum Wien sorgen mit Aperghis für einen Höhepunkt bei MaerzMusik in Berlin.

Pour son deuxième opéra, L’Inondation, le compositeur Francesco Filidei a travaillé avec l’auteur et metteur en scène Joël Pommerat, autour de la nouvelle éponyme d’Evgueni Zamiatine.

Christian Spuck, Zurich’s ballet director has crafted a new version of Hans Zender’s adaptation of Die Winterreise

Aperghis’ migrants and a new arrangement of Janáček’s The Diary of One who Disappeared by Schöllhorn were well-handled treatments of their subject matter, yet burdened by an overwrought conceptual framework.

Combinant humour, étrangeté et références aux grands compositeurs du passé, Pinocchio s’adresse à tous, enfants comme adultes, et offre de nombreux niveaux de lecture.

If I wrote that I loved Philippe Boesmans' Pinocchio, my nose may grow a little. The 81-year old composer in collaboration with Joël Pommerat, shifts the tale far away from any cutesy Disney fantasy, returning it to the harsh reality of Carlo Collodi's original fable.

The London première of Georg Friedrich Haas' cult phenomenon in vain was given as part of Southbank Centre's The Rest is Noise festival, by London Sinfonietta and conductor Emilio Pomàrico – a rhetorically brilliant performance.

Robert Wilson said, when preparing to stage Helmut Lachenmann’s deeply intricate and sensually vibrant opera Das Mädchen mit den Schwefelhölzern, that he could not imagine staging it in a typical opera house. He could not have found a better hall than the Jahrhunderthalle in Bochum, a medium-sized town about an hour north-east of Düsseldorf and one of the host cities of this year’s Ruhrtriennale.

Born in 1920 to a Venetian bandmaster, Bruno Maderna became famous during his formative years as a violin prodigy and was told by his grandfather that he could gravitate to the mafia later in life and God would still look kindly on one who played the violin so wonderfully.