Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | La clemenza di Tito, KV621: Deh per questo istante

Trouser – and toga – roles abound at Wigmore Hall as French mezzo-soprano Marianne Crebassa debuts with The Mozartists in arias from four key Mozart roles. 

Franco Faglioli y la Orquesta Capella Cracoviensis ofrecen en el Teatro Real un recital muy por debajo de las expectativas.

L’Orchestra of the Age of Enlightenment et la mezzo-soprano Magdalena Kožená ont proposé mercredi dernier au Théâtre des Champs-Elysées un concert-récital de haut vol, entre Symphonie n° 40 de Mozart et airs classiques.

Mozart's Symphony no. 40 gets the chop, split into four movements interspersed with arias sung by Czech mezzo Magdalena Kožená. 

It’s a rare treat to experience a performance given by two musicians at the height of their craft, especially when the performers in question are Cecilia Bartoli and Daniel Barenboim.

The buzz in the Concertgebouw was palpable for many minutes before the entrance of Cecilia Bartoli. It was one of those occasions when even an audience member who knew nothing of the artists could hardly have failed to anticipate something special. She did not disappoint.

It’s time to stop talking about James Levine’s comeback. After a scintillating return to Carnegie Hall in May and a fleet, immaculate Così fan tutte at the Metropolitan Opera in September, Levine has proven what he never really had to: his powers have not waned in his absence from the podium. Given sensible scheduling and interesting repertoire, we can focus once again on his music-making.

Classical Opera’s well-attended concert at the Wigmore Hall was intriguingly titled “Mozart’s Castrati”.