Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Orchestra of the Age of Enlightenment

Mit zeitlich-örtlicher Zufälligkeit leitet Luks das Paradewerk ganz so, als wollten die Ebenbilder des Herrn die Schöpferkraft herausfordern wie geradezu gleichsam zu Haydns geschriebenem und vermitteltem Energieboost verblüffungsreif demonstrieren.

Die Melange aus bestimmter Lässigkeit und zwinkernder Süffisanz ließ bei neuerlichem Haydn dieser geistreichen Londoner Künstlergemeinschaft wieder kaum redensartliches Auge trocken.

Ein nicht alltägliches Programm, ein origineller Interpretationsansatz und verschwenderische Zugaben begeistern das Publikum in der Tonhalle Zürich.

Beeindruckendes Solisten-Trio und Instrumentalensemble unter Leitung Steven Devines sorgten für eine in vielerlei Hinsicht passende Premiere in und Rückkehr nach Malta.

Ob hypnotisch-süffisant oder robust-komisch – Schiff zauberte mit tiefenentspanntem, trockenem Humor Wesentliches und Faszinierendes am Fortepiano und Dirigentenpult hervor.

Sellars und Rattle schaffen einen Raum und Klang, der Bach mit seiner Deutung einer der bekanntesten Erzählungen der Welt lebendig werden lässt.

Drama, Spaß und Intensität beim Beethovenfest Bonn mit dem Orchestra of the Age of Enlightenment und Adam Fischer.

Dieses Tanzprogramm bot durchgehend launige Unterhaltung: von prunkvoll bis leicht, spritzig und rasant verzauberten Ensemble und Dirigent die Essener Philharmonie.

6 aus 6: Alle Kantaten überzeugen jeweils mit Betonung der instrumentalen Besonderheit, Strenge, Frische, schreitendem Atem, Klarheit und Festlichkeit.

Ian Bostridge und das Orchestra of the Age of Enlightenment beweisen sich als Advokaten Telemanns und Händels im großen Saal des Wiener Konzerhauses.

She's never seen, but always felt: the girl from Arles wreaks havoc in a new staging of Daudet's play with Bizet's incidental music. 

Thanks to a vibrant clutch of performances and abetted by designer Vicki Mortimer‘s detailed, exotic sets, director Sir David McVicar tells it straight.

A recreation of the final concert attended by Johannes Brahms marks the closing programme of the Orchestra of the Age of Enlightenment's 40th season. 

One element of the Orpheus myth is about creativity, so at Glyndebourne, William Kentridge sets Monteverdi’s opera in an artist's studio, 

Simon Rattle and the Orchestra of the Age of Enlightenment deliver a revelatory all-Berlioz programme, crowned by a sensational Symphonie Fantastique of rare clarity, colour and imagination.

The Orchestra of the Age of Enlightenment under Václav Luks are joined by their own choir and strong soloists for a fresh and colourful performance of Haydn’s Die Schöpfung.

The road to immersion is paved with modish deflections as the Orchestra of the Age of Enlightenment performs 20th-century English string music. 

A Mozart's of symphonies – his last – under conductor Robin Ticciati is capped with a fine Jupiter, but is let down by the performances of its two predecessors.

The Queen of Sheba is clearly in a hurry in this account of Handel's oratorio at the Queen Elizabeth Hall. 

At the George Enescu International Festival, a pair of new shows crossing genres and reinventing the classics, with mostly enlightening results.

Kim Brandstrup choreographs Bach favourites based on hip hop and street dance. Lie back on the bean bags at Usher Hall and enjoy...

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

The Orchestra of the Age of Enlightenment and Dinis Sousa bravely venture into Elgar at the Queen Elizabeth Hall, with mixed success.

The Orchestra of the Age of Enlightenment and soprano Julia Bullock invite us to listen to familiar pieces with fresh ears in invigorating performances at New York's 92NY.

A star-studded group of soloists and a wonderful choir make for an interesting, if not always convincing, interpretation of Bach's joyous oratorio. 

A fascinating traversal of all six concertos in all their colourful variety given compelling performances by the Orchestra of the Age of Enlightenment at The Anvil. 

Ádam Fischer and the Orchestra of the Age of Enlightenment bring new light and life to Bruckner's most imposing cathedral in sound. 

Louise Alder shines as Cleopatra, one of Baroque opera’s greatest creations, in the fourth Glyndebourne revival of Sir David McVicar's much-loved production. 

A visually delightful revival of Barbe & Doucet's action-packed Zauberflöte at Glyndebourne, with strong vocal performances throughout. 

Schiff takes the long view in Mendelssohn's unfashionable masterpiece. 

Series of a composer's relatively neglected symphonies, or other genre, face one key test. Do the works emerge with greater stature than before?

The first of three concerts in a Mendelssohn cycle sees Sir András Schiff and the Orchestra of the Age of Enlightenment tackle the composer's First and Fourth Symphonies, preceded by the Piano Concerto no. 1.

Vibrato-less strings and raw energy from woodwind and brass are not the sounds you would traditionally associate with Glinka, Rachmaninov, Grieg and Sibelius. The OAE invites you to think again.

The Orchestra of the Age of Enlightenment brings midsummer magic to the QEH, with a wholesome, community opera. 

Masaaki Suzuki leads the Choir and Orchestra of the Age of Enlightenment through Bach's Christmas Oratorio across two evenings at the Southbank Centre. 

Who needs a conductor? The OAE under the direction of Matthew Truscott reveal the delightful range and character of Haydn, from his symphonic beginnings to the very end.

Adele Thomas makes a good case for Semele's operatic credentials in her production which makes effective nods towards Baroque opera’s devotion to spectacle.

Mariame Clément wants her cake and eats it in a thought-provoking production that explores Mozart’s opera through Leporello’s perspective.

Whether surrounded by lanterns and weapons, or musicians and fellow congregation members, one is deeply involved in this work.

The Orchestra of the Age of Enlightenment dip into the late Romantic period to make the case for more Saint-Saëns in this rip-roaring concert under Russian conductor Maxim Emelyanychev.

Director Francesco Micheli undersells Handel in this Glyndebourne debut, but there's plenty of froth to keep the audience entertained. 

Malgré un bel Orchestra of the Age of Enlightenment, le programme Haydn-Beethoven a paru bien monotone voire approximatif sous la direction du célèbre pianiste et chef d'orchestre.

L'Orchestra of the Age of Enlightenment et Mark Padmore proposent au TCE une Passion selon saint Jean de Bach solide et ciselée mais par endroit trop contenue. 

A moving St John Passion from the OAE, with direction shared between Margaret Faultless and tenor Mark Padmore.

With his impish grin, the Hungarian conductor revels in Mahler's “heavenly” Fourth Symphony as clothed in refreshing period instrument colours. 

Not all expectations were fulfilled in this concert by the Orchestra of the Age of Enlightenment. Isabelle Faust made a strong case for Schumann's Violin Concerto, whereas Antonello Manacorda adopted a paint-stripping approach to both overture and symphony.

The bass truly got his needle working on preparing his latest role, the raging cyclops Polifemo. 

Lush visuals and appealing singing do not quite make up for a somewhat lacklustre revival of Nicholas Hytner's acclaimed 2006 production of Mozart's late comedy.