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

Die Münchner Philharmoniker interpretieren unter der Leitung von Semyon Bychkov ein vielfältiges Programm mit experimentellen Klängen. 

An entertaining portrayal of the 1973 “Battle of the Sexes” tennis match between Billie Jean King and Bobby Riggs is marred by ham-fisted amplification.

Vladimir Jurowski's six-year Ring with the LPO closes as the cycle began: a gleaming, golden ring with a black hole at its core. 

Toby Spence, Matthew Rose and Andrew Watts shine in a fluent semi-staging at the Royal Festival Hall.

Semyon Bychkov’s Prom appearances are always fascinating experiences and this was no different, with the BBC Symphony Orchestra on tremendous form. 

The BBC Scottish Symphony and Thomas Dausgaard unite Wagner, Strauss and a 43-year-old symphony from a modern Danish master.

Proposer un programme composé exclusivement de compositions des XXème et XXIème siècles a de quoi faire mentir ceux qui réduiraient volontiers la musique savante à son seul classicisme.

Juanjo Mena and the BBC Philharmonic juxtaposed Simpson's oratorio, The Immortal, inspired by mediums and seances, with Tchaikovsky's Sixth Symphony where life slips away into the void.

Despite a condescending commentary, a strong performance from Anja Kampe as Leonore made this concert staging of Fidelio at the Royal Festival Hall thoroughly enjoyable.

One Prom + two oddball 20th century symphonies = a strangely satisfying experience, especially when in the hands of a youth orchestra, evidently open to the technical challenges and quirkiness of this relatively rare concert material.

Peter Grimes may deserve the place it has gained in the operatic canon, but it’s not a work without problems.

Birmingham Opera Company’s production of Mittwoch aus Licht, Karlheinz Stockhausen’s six-hour sonic exploration of light, love, and the boundlessness of the human imagination, was a triumph from start to finish, and an unforgettable experience. Graham Vick’s spectacular production fostered a sense of child-like wonder that continued unabated throughout the night.

If you were to go to a cinema in St Petersburg of the 1910s, the pianist playing the backing music to the silent movie might have been one of two Dimitris: a very young Shostakovich, or the slightly older Dimitri Tiomkin. While Shostakovich stayed to make his fame within classical music in Soviet Russia, Tiomkin went west and fetched up in Hollywood.