Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | André de Ridder

In der Oper von Gluck lässt diese Inszenierung leblose Klassizität hinter sich. Sie deutet stattdessen die Handlung als einen hochdramatischen Emanzipationsprozess von schweren Traumata und Befreiung aus als ewig empfundenen tragischen Verstrickungen.

Regisseur Marco Štorman inszeniert einen Abend, der ganz aus dem Geist von Adams' Musik lebt.

Never has Brecht and Weill’s satire on the inhumanity of man to man been render with such utter darkness; Simon O’Neill heads up a superb cast.

Closing the 26th edition of the Ultraschall Berlin festival, André de Ridden and the DSO prove the vitality of the contemporary orchestra with a programme featuring works by Streich, Chin and Andre.

An evening of premieres – the European premiere of Bates' concerto plus the world premiere of Joey Roukens' First Symphony – delights the Rotterdam Philharmonic's Utrecht audience. 

Un scénario fréquent hier à l'Orchestre symphonique de Québec : un soliste – le violoncelliste Henri Demarquette – qui enchante, un chef – André de Ridder – qui déçoit.

La precisión suiza de la orquesta dirigida por André de Ridder, el minimalismo, las hermanas Labèque y el trompetista Manuel Blanco fueron los protagonistas del séptimo concierto del ciclo sinfónico de la ONE.

Joshua Bloom and Paula Murrihy excel in Irish National Opera's staging of Bartók's opera, although director Enda Walsh takes too many liberties with the libretto. 

Philippe Jaroussky stars in a new Kaija Saariaho—Peter Sellars collaboration: Only the Sound Remains. Not since Written on Skin has modern opera thrilled with such intensity.

The World Premiere at the Edinburgh Festival of The Last Hotel:   a strange and haunting new chamber opera from post-minimilist composer Donnacha Dennehyna and acclaimed writer Enda Walsh with the Crash Ensemble generating exciting rhythmic pulsing energy in the pit. 

BBC National Orchestra of Wales's afternoon concert series brings unusual works to light, but the small auditorium can make some of the heavier late-romantic orchestration overwhelming – to the point of being overpowering.

The violinist James Ehens brings his masterful Bartók back to Seattle in a program conducted by André de Ridder, who makes his Seattle Symphony debut.

Usually, I don’t find much to be excited about in opera stagings meant to overhaul the genre, to give it the resuscitation it apparently needs. They are always more promising on paper, always less effective in execution: I’ve seen all kinds of sexual permissiveness, giant machines, film projections, even singing robots (an especially low point).

What’s the first thing that comes to mind when you hear the phrase “3D occult mystery film opera”? Because I’ll bet that whatever this makes you imagine is nothing like the reality of composer/director Michel van der Aa and librettist David Mitchell’s Sunken Garden, which debuted at the Barbican last night.

Having previously been Assistant Conductor at The Hallé, André de Ridder returned to a bitterly cold Manchester to conduct a fascinating programme, culminating a beautifully autumnal account of Brahms’ Symphony no.4.The Brahms was by far the most successful of the evening’s works.

To judge by the continued chatter, no-one noticed 100 metronomes on stage being set in motion, signalling the beginning of György Ligeti’s Poème symphonique (1962). Even when the lights were dimmed it only dawned on people slowly that the concert had actually already begun.

To call last night’s Nico Muhly extravaganza at the Barbican a concert of two halves would not go far enough. It was more like two concerts, with a surprisingly short gap between them. The first was made up of three new classical works played by the Britten Sinfonia, and the second was a set of arty folk numbers and other chamber miniatures by Muhly and others.