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Die Hamburger Symphoniker brachten unter Markus Stenz Detlev Glanerts Requiem für Hieronymus Bosch zusammen mit der Europa Chor Akademie auf die Bühne der Elbphilharmonie.

Das Musizieren im Konzentrationslager Theresienstadt/Terezín ist etwas, das uns bis heute fasziniert, sprachlos macht, inspiriert.

La noche trasfigurada copó la velada gracias a una sección de cuerdas que logró efectuar una interpretación memorable de esta obra maestra, no sin el mérito también del director James Conlon, que ofreció una versión pausada y cuidadosa con la arquitectura armónica de la composición. Al otro lado de la balanza, la Sinfonía lírica de Alexander Zemlinsky, un compositor cuyo nombre aparece habitualmente ensombrecido por el genio de Schönberg.

Dramatismo, juegos sonoros orquestales, contrastes súbitos y un amplio desarrollo vocal tanto de los solistas como del coro fueron las fórmulas del éxito obtenido por David Afkham al frente de la Orquesta y Coro Nacional de España en una emotiva noche en el Festival de Granada.

Rara vez se aprecia un cuarteto solista tan compenetrado en el que los valores individuales están siempre dirigidos a favorecer la música en su conjunto, y en el que no sobresale uno sobre los otros por la amplitud de su timbre o de su gestualidad.

Detlev Glanert's first religious composition, a staggering Requiem for solo voices, two choirs and orchestra, pits the demonic against the angelic, and is worthy of the genius it celebrates.

On comprend, dès les premières notes – un fa dièse disséminé sans affèteries de part et d’autres des pupitres, gonflant au fil de chromatismes descendants – que Tomáš Netopil partage avec Dvořák ce doux mélange de colère saine et de pudeur, que l’on ne saurait imputer à leur seule parenté tchèque. 

The Netherlands Radio Choir is marking its 70th anniversary with a series of jubilee concerts, including Brahms’ Ein deutsches Requiem, conducted with control and compassion by Edo de Waart.

Jonathan Miller may not be directing new productions of operas any more, but his productions are still being revived in many countries; in Tokyo’s New National Theatre, his Falstaff has just been revived.

A thrilling evening at Poole’s Lighthouse with the BSO and Chorus plus a quartet of superb soloists, conducted by Kirill Karabits in an unforgettable performance of Verdi’s Requiem. 

Die Fledermaus is as quintessentially Viennese as zithers and Schnitzel. In John Wilson, the Philharmonia and a fine ensemble cast, we should have had all the ingredients for a memorable matinée performance, but a few elements meant the fizz went rather flat.

We celebrate this year the bicentennials of two of the most influential composers of the 19th century. Yet celebrations in Amsterdam have been rather one-sided so far.

The world ended again last night. It ends fairly frequently in performances and in recordings, and that schedule tends to innoculate us against Richard Wagner’s political and philosophical messages. If ever there were to be a performance to transcend that, it would come at the Proms, at the conclusion of its first full performance of Der Ring des Nibelungen.

A Beethoven cycle last year, The Ring this year: what will Daniel Barenboim bring to the 2014 Proms? Perhaps, given the recent success of extracts both at the Proms and at Lincoln Center Festival, the smart money is on Karlheinz Stockhausen’s 29-hour, seven-opera cycle Licht. Then again, perhaps not.

Carmen is one of the most frequently performed operas in the world, and with such a variety of interpretations out there it is always difficult to come up with a new one which is simultaneously inventive and effective.