Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | L'Histoire du soldat

Dagmar Manzel und Vladimir Jurowski sorgen für einen schauspielerisch und musikalisch großartigen Abend.

Das Trio begeistert im Kammermusiksaal der Philharmonie mit Chopin, Strawinsky und Debussy.

Bei den Metamorphosen waren die leisen Stellen total verinnerlicht, und in den intensiven Partien schien das Klangbild demjenigen der vollen Besetzung in nichts nachzustehen.

Mit einer berührenden Aufführung von Grigori Frids erster Mono-Oper eröffnen Juliane Banse und die Wiener Virutosen die Spielzeit des Theater an der Wien.

Rarely has so distinguished a group been assembled to give this work live; it would have shone as a highlight even in a normal year of visiting foreign ensembles and performers.

This interpretation by co-directors Annabel Arden and Femi Elufowoju Jr was intelligently conceived and brilliantly executed.

 Outstanding narration was the feather in this soldier’s cap

The Soldier’s Story illustrated a thematic integration of ideas in a programme that was as diverse as it was bold.

Le Trio Venturis composé de jeunes solistes issus du Conservatoire d'Amsterdam et récemment primé en France lors du Concours International de Musique de Chambre d'Illzach a confirmé ses belles qualités lors d'un récital proposé à Laren, aux Pays-Bas.

The Hebrides Ensemble delight a Queen's Hall audience with novel takes on Schoenberg's Verklärte Nacht and Stravinsky's L'Histoire du Soldat.

L’Histoire du Soldat et L’Amour Sorcier mis en dialogue par les Musiciens du Louvre Grenoble, Marc Minkowski et Olivia Ruiz. Une mise en scène et un engagement chorégraphique qui ne peuvent pas mieux rendre hommage à Stravinski et Manuel de Falla.

Stravinsky’s The Soldier’s Tale is a curious piece. Written in the dying days of World War One, in 1918, whilst Stravinsky was in exile in Switzerland, it was initially planned to alleviate his precarious financial situation.

Like much of Shostakovich’s work, his popular Piano Quintet, Op. 57 (1940) is full of ambiguity and contradiction. It was written at the request of his friends in the Beethoven Quartet, who had so enjoyed his first string quartet that they asked him to write something new that they could play with him – but this private piece of chamber music was a huge public success.

Imagine, if you will, a one man stage show, with one of the nation’s foremost and best loved actors playing all the parts in a somewhat Faustian fairy tale, with a crack team of musicians playing incidental music by one of the last century’s great composers. You might think that this would comfortably sell out a fair sized London theatre.

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