Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Appalachian Spring: Suite

Joshua Weilerstein dirigiert das Mozarteumorchester im Großen Festspielhaus und entführt das Publikum auf eine spannende Reise durch das Amerika des 20. Jahrhunderts.

Alena Baeva's exhilarating performance of Barber's Violin Concerto is the highlight of the Hallé 's American-themed concert under Marta Gardolińska. 

For her debut at the head of the Berliner Philharmoniker, Marin Alsop reflects on what a ‘home’ is through works by Tarkiainen, Dean, Copland and Villa-Lobos. 

Alongside works by Bernstein and Copland, conductor David Robertson and pianist Nicolas Hodges give the US premiere of Jolas's cheeky concerto bTunes.

The American conductor brings a New World sound and sensibility to a storied Old World setting.

Alondra de la Parra ofreció una sólida dirección al frente de la Orquesta Nacional en un programa un original y coherente en el que destacaron la vitalidad y los contrastes.

Classic works by Barber and Copland were performed alongside a contemporary composition that puts itself in conversation with the National Anthem.

La Orquesta Filarmónica de Bogotá bajo la dirección de Robert Moody mostró su excelencia en un interesante concierto que incluyó el estreno de dos obras en Colombia.

John Wilson oversees a glossy, superficial take on early 20th-century works from England and the USA.

John Adams returned to Cleveland to lead two of his own works – including the local première of Scheherazade.2 – framing Copland’s Quiet City and Appalachian Spring.

Playing music by Copland, Hovland and Sibelius, the Oslo Philharmonic and Dalia Stasevska gave exciting performances, even though the quality of the music did not always match.

Conductor Michael Francis and pianist Benjamin Grosvenor have an auspicious debut with the Atlanta Symphony Orchestra.

Prom 71's excursion across America contained some great music, but delivered less than it promised.

Aurora Orchestra and Dawn Landes take us on a road trip across America, with music from John Adams, Charles Ives and Aaron Copland.

The reason for this all-American programme was ostensibly pragmatic: the concert was to coincide with the opening night of the British-American Business Council annual conference. In practice, the programme was a triumph. Significantly, dozens of schoolchildren were present to witness an evening of fine and involving music-making.The concert began with Charles Ives’ Variations on America.

It’s rare to see a soloist perform two concertos in a single programme. RSNO Associate Leader William Chandler promised, in his highly entertaining and informative pre-concert talk, that we were in for some very exciting playing from pianist Xiayin Wang. Indeed we were.

Inspiration for a composition can come in many forms; a letter from Clara Schumann, the brutality of Stalin's police, growing deaf or hearing birdsong. The final concert of John Adams’ short residency at the Barbican focused on a more reverent strain of influence, however: the peculiar tendency for living composers to want to reference dead ones.

Three of the four American pieces performed this evening by Northern Sinfonia were written to evoke very particular places, and got me thinking about the evocative power of a well-chosen title.