Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Der Dreispitz

José Ramón Encinar y la ORCAM nos dan a conocer a Lili Boulanger y a Anna Swir, gracias a Luis de Pablo.

Bon sang ! Mais pourquoi n'entend-on quasi plus jamais Le Tricorne, tout comme L'Amour sorcier de Manuel de Falla, d'ailleurs ?

Charles Dutoit and the SFS brings us a night of Sibelius, Mozart, de Falla and Debussy, giving us a wonderful taste of Europe in one sitting. 

In a program with Chabrier’s España and Falla’s The Three-Cornered Hat, the Houston Symphony ambitiously unearthed Mario Castelnuovo-Tedesco’s Cello Concerto, last heard at its premiere with the New York Philharmonic in 1935.

The Katona twins guitar duo conjured up the many moods of Spain and South America in a lunchtime recital of music by Falla, Albéniz, Granados and Piazzolla.

Charles Dutoit's mostly Spanish program was highlighted by two major scores of Manuel de Falla.

The LPO and Jaime Martin en pointe in a lively dance inspired programme of music by de Falla, Rodrigo and Prokofiev.

Nelson Freire et l’Orquestra simfónica de Barcelona i Nacional de Catalunya au centre du Cercle magique à l’Auditorium de Lyon.

An action-packed, generous concert by the Orquesta Filarmónica de Mexico UNAM conducted by Jan Latham-Koenig at the Cadogan Hall.

Sunday night is fiesta night, or so it seemed at the Barbican, where the London Symphony took us on a whirlwind tour from Seville in Andalucia to the Asturias. 

In a week of intense and lengthy performances of Der Ring des Nibelungen, this Prom provided an antidote in the form of classical music inspired by or written for dance – after a purely instrumental first half, the second half of the concert brought dancers to the stage in a riveting, edge-of-seat intense combination of colour, rhythm and sound.

Last Thursday’s concert with the Oslo Philharmonic featured four pieces with little or no connection to each other, other than three of the pieces being either written by Spanish-speaking composers or actually being about Spain. Yet, apart from one piece, it all came together into a rather coherent whole.The concert began with Jacques Ibert’s Bacchanale.

Clive James – with as much modesty as a self-publicist can pull off – says, "all I can do is turn a phrase until it catches the light." A similar ability enlivens the orchestration of masters such as Ravel and Falla.