Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Symphonie Nr. 49 in f-Moll "La Passione", Hob.I:49

Das britische Orchester beweist, wie uns zeitgenössische Kompositionen vor allem in Verbindung mit zum Nachdenken anregenden Texten inspirieren können.

Bei seinem Gastdirigat bei den Münchner Philharmonikern schlüpfte Omer Meir Wellber in viele Rollen und bot dem Publikum in der Philharmonie ein spektakuläres Programm zwischen neu und alt.

Karina Canellakis schafft mit den Bamberger Symphonikern ein extensives Klangfarben-Spektrum und Leidenschaft pur.

With his wonderful instinct for finding just the right tempo, Yannick Nézet-Séguin conducted the scaled down but high spirited Philadelphia Orchestra in Elgar’s Serenade.

In Zurich’s new and provisional Tonhalle Maag, Omer Meir Wellber recently conducted a triple bill of works from the Baroque, Romantic and modern periods.

Les Grands Interprètes paraient à ce phénomène, pour leur second concert de la saison, en invitant l’ensemble du Giardino Armonico, cofondé et dirigé depuis 1989 par Giovanni Antonini, pour un programme entièrement classique.

Isabelle Faust and the Orchestra of the Age of Enlightenment find steely freshness in Mozart, with brooding intensity and accentuated twists and turns in Haydn and CPE Bach.

The first of two concerts given by the Britten Sinfonia at the Barbican Hall, with Barbara Hannigan as both singer and conductor.

Giovanni Antonini and the Baroque Ensemble of the Orquesta Nacional de España perform Boccherini's "La Casa del Diavolo" on Hallowe'en night.

Barbara Hannigan stars both as singer and conductor with ensemble Ludwig at the Concertgebouw. This is a difficult double act and one that doesn't entirely succeed.

Spot the odd one out: a symphony by Haydn, another by Mozart, a violin concerto by Mozart, and Electric Preludes by Brett Dean (2012). The bill of fare offered by the Australian Chamber Orchestra on Sunday cannot be called typical for them, since their programs evade any easy categorisation, but the gesture of mixing old and new is certainly a familiar gambit.

Those happy to brand the British Isles as the "land without music" for the time between Purcell and Britten might have cause to rethink if they audited the vintage of London of the late 1760s. Johann Christian Bach, the youngest of Johann Sebastian's sons, moved to England in 1765, helped along by the expatriated Carl Friedrich Abel, with whom he shared a house on Meard Street in Soho.