Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Apollo (Apollon musagète)

Sir Simon Rattle erkundet unbekannten Stücke und Lieder sowie Edelsteine aus späteren Schaffensperioden.

Daniel Harding dirigiert ein klanggewaltiges Programm mit Strawinsky und Messiaen.

Kirill Gerstein und Thomas Adès sorgen für einen unvergesslichen Strawinsky-Abend in der Elbphilharmonie.

Im Festspielkonzert der Camerata Salzburg fasziniert ein altersjunger Roger Norrington mit der Überzeugungskraft klangreinen Musizierens.

Mit dem Dirigenten David Zinman und der Sopranistin Barbara Hannigan hatte das gastgebende NDR Elbphilharmonieorchester zwei Namen von internationalem Renommee eingeladen.

...ein fulminantes Comeback bei den Berlinern, das hoffentlich neue fruchtbare Basis für künftige Zusamenarbeiten ist.

Hell holds no fury like a woman scorned, and it was certainly so in Greek mythology, celebrated in this outstanding Aldeburgh Festival performance by the Britten Sinfonia and Helen Charlston.

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

A new leader takes over that BSO's concertmaster chair that Malcolm Lowe occupied with distinction for more than three decades

NYCB give first rate accounts of the first and last ballets but the filler suffered from miscasting and lack of chemistry.

Angela Hewitt gives magical Mozart with Andrew Davis and the BBC Philharmonic and four twentieth century masterpieces looking back to the past complete a rewarding and unusual programme

A Greek-themed triple bill is presented with mixed success, although Agon still stands up well, with Unity Phelan making her debut in the central pas de deux.

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

A slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

Sous la direction énergique de Simone Young, les Lausannois ont offert un Mozart jubilatoire et un Stravinsky plein de charme. Quant à Hummel, il aura mis en valeur un Nils Mönkemeyer virtuose.

Mezzo soprano Karen Cargill and the Scottish Ensemble guest-led by Matthew Truscott in a programme of music from Purcell to Stravinsky all inspired by tales from Ancient Greece.

Franz Welser-Möst leads a compelling performance of the seldom-heard Threni.

Damian Woetzel puts together programs, musicians and dancers with a creative curator’s eye and gets the most out of the new combinations. This show was great.

Listening to Esa-Pekka Salonen conduct the Philharmonia Orchestra brought back memories of his halcyon days with the Los Angeles Philharmonic when he summoned up Sibelius with a golden magician's wand, and Beethoven with a lapidarian's curiosity. 

As Esa-Pekka Salonen resumes his Stravinsky series, he turns his attention to three underperformed works based on key figures of Greek mythology: Orpheus, Apollo and Persephone.

There are 44 years between the oldest and newest Balanchine works in this programme which confirmed its timeless beauty and significance today. 

Diablo Ballet tackles Balanchine's Apollo, Tina Kay Bohnstedt's take-off on a Sinatra classic, and Robert Dekkers' mysterious Milieu – once again showing up those larger companies who have unwisely ditched live music. 

Au programme du Prom 9, jeudi 23 juillet 2015 : les concertos pour piano n°1 et 4 de Beethoven, et Apollon Musagète de Stravinsky. Une superbe aventure musicale, dont on attend la suite avec impatience !

The closing tableau of Symphony in Three Movements is a monument to geometric abstraction that lingers in the mind long after you leave the theater, much like the paintings of Piet Mondrian.

New York City Ballet impresses in the first of their Hear the Dance: Russia , with an evening dedictaed to Stravinsky and Balanchine programme. Performed at the David H. Koch Theater, in New York. 

The Mariinsky Ballet treats London audiences with some of Balanchine's finest story ballets : Apollo and A Midsummer Night's Dream 

There’s something quite strongly “neoclassical” about the whole historically-informed performance movement. Someone like Sir John Eliot Gardiner, who has championed the use of detailed historical knowledge of performance practice and instruments, has never actually been attempting to transport us all back to the 18th century. That would be futile, obviously.

Last Friday, The Royal Ballet presented an exciting bill composed of George Balanchine’s iconic Apollo (1928) and two new ballets by acclaimed choreographers Alexei Ratmansky and Christopher Wheeldon. The programme was cleverly designed, since Ratmansky and Wheeldon are renowned explorers of the neoclassical style inaugurated by Balanchine.

Who was George Balanchine’s greatest muse? If her name is on the tip of your tongue, and you think that she must be a famous ballerina, think again. From their first collaboration in early in the 1920s, composer Igor Stravinsky inspired and challenged Balanchine with his music, starting in France and then expanding into different countries.

While the first of English National Ballet’s tributes to the Ballets Russes focused on works with a ‘nature’ theme, this second programme was more sporty – an apt topic for London 2012. First, there is Apollo, one of the most important and complex of the Olympian deities, then a game of tennis. Then there is an acrobat, and, finally, a marathon of non-stop technical classical feats.