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Performer: Rowan Pierce

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LondonSt Matthew Passion

© Marco Borggreve
Bach: Matthäus-Passion, BWV244
Orchestra of the Age of Enlightenment; Mark Padmore; Mary Bevan; Paula Murrihy; Samuel Hasselhorn

AmsterdamOrchestra of the Age of Enlightenment: Bach's St Matthew Passion

© Marco Borggreve
Bach: Matthäus-Passion, BWV244
Orchestra of the Age of Enlightenment; Mary Bevan; Paula Murrihy; Mark Padmore; Samuel Hasselhorn
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LondonApollo e Dafne

Roderick Williams © Southbank Centre | Mark Allan
Telemann, Bach, Händel
Orchestra of the Age of Enlightenment; Roderick Williams; Rowan Pierce
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Gabrielis elegante Feier Henry Pucells

Gabrieli Consort & Players © Andy Staples Photography
Beinahe war dieser King Arthur so rund und erhaben schön, dass die fünf Akte auch zu fünf Sternen geführt hätten.
****1
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In the round: Roderick Williams sings and directs the OAE

Roderick Williams © Southbank Centre | Mark Allan
Handel’s Italian cantata Apollo and Daphne is enjoying a Covid wave, perfect as it is for socially-distanced singing.
****1
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Comedy with knobs on: English National Opera's new Figaro

Colin Judson (Don Basilio), Louise Alder (Susanna) and Johnathan McCullough (Count Almaviva) © Marc Brenner
A witty, insightful production at the Coliseum fizzes with comedy and pathos. 
****1
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Academy of Ancient Music on brilliant form at Disney Hall

Rowan Pierce © Gerard Collett
The Academy of Ancient Music played with such stylistic elegance, charm and sheer physical beauty that it was like hearing I Musici and Virtuosi di Roma for the first time in this repertoire in the 1950s.
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The Gabrielis shine in Purcell's confusing King Arthur

Paul McCreesh © Ben Wright

King Arthur is an opera without a plot and, in musical terms at least, Arthur without the King.

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The power of music: Iestyn Davies in Gluck’s Orfeo ed Euridice

Iestyn Davies © Andrei Gîndac
Centuries can envelop a musical masterpiece in a cocoon of misconceptions and false interpretations as much they leave their mark in the form of dirt and grime on a painting’s surface.
*****
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