En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Londres

El Nash Ensemble ofreció un gran concierto desde el Wigmore Hall con obras contemporáneas entre las que se contaban tres estrenos mundiales.

She Persisted es la continuación de la propuesta del ENB She Said, una función triple con las creaciones de Annabelle López Ochoa, Stina Quagebeur y Pina Bausch.

Nash Ensemble nos llevó de viaje desde Granada a Cádiz, pasando por Linares en un recorrido lleno de pasión y buen hacer, donde disfrutamos de coloridos paisajes e historias de amor y desamor.

Con una pareja tan excelsa encabezando el drama, el Onegin de John Cranko resulta conmovedor;

The Academy of Ancient Music poses the question what might have been in Leipzig with stunning performances of Bach and his competitors to be the new Thomaskantor. 

Mark Ravenhill directs a brutal, bloody Salome for Regents Opera at the spiritual home of British boxing, York Hall. 

Divorced from Cavalleria rusticana, English Touring Opera’s contemporary take on Leoncavallo’s masterpiece ticks all the boxes.

The sparkle of Max Bruch's Fecond Violin Concerto and the drama of Beethoven's Pastoral Symphony overcome the gloom of Anna Thorvaldsdottir’s dark forebodings. 

A reimagining of Pina Bausch's 1978 Kontakthof by Meryl Tankard brings together eight of the original cast members in a unique and poignant revival.

Solera is a mix of experience and youth blended to create excellent vintage flamenco at London's Sadler's Wells.

From Three Screaming Popes to Pictures at an Exhibition, a pair of works inspired by paintings frame a violin concerto by Béla Bartók at London's Southbank Centre. 

George Williamson's My First Ballet: Cinderella for English National Ballet School is an absolute joy and suitable for any age group. Great family entertainment.

With a spring in his step, Evgeny Kissin returns to Barbican Hall and gives well-wrought accounts of Beethoven, Chopin, Liszt and Schumann.  

In this latest revival of Kenneth MacMillan’s Mayerling, The Royal Ballet presents a roster of powerful and vivid interpretations across the board.

The Manchester Collective are one of the most successful groups of musicians who aim to bridge the gap between musicians and their audiences. 

Opha Phelan’s staging presents the action as a grand, Freudian social experiment. It’s a risk – but the production is lifted by outstanding performances from the cast and the Academy of Ancient Music.

Alessio Bax's inaugural London Festival of Chamber Music sets off with a spring in its step.

Natalie Abrahami’s mesmerising new production of Britten’s ghostly tale of sexual abuse is very dark indeed.

Sibelius' Kullervo receives a dramatic performance from Ticciati and the LPO, with strong turns from Shenyang, Miina-Liisa Värelä and the YL Male Voice Choir.

Sir Mark Elder celebrates 50 years at Covent Garden by returning to his first opera there in 1976 – Verdi's Rigoletto – in a revival of Oliver Mears' excellent 2021 production.

English National Ballet presents a double bill of contrasts at Sadler’s Wells with startlingly mixed results, not all positive.

Any performance of Mahler’s Resurrection Symphony is an event, but this mighty Philharmonia account at the Royal Festival Hall proves extra special. 

Billed under the heading ‘Echoes of Youth’, this Kings Place programme is an attractive ragbag of unlikely bedfellows. 

Two new works by Alexander Whitley, Mirrors and The Rite of Spring, explore society’s increasing dependency on AI in dance.

A revelatory orchestral performance and a cast led by Andreas Schager, Christopher Maltman and Elisabeth Strid make this a Siegfried for the record books.

Mozart's teenage comedy is more complicated then Figaro but is easy on the ear, with many opportunities for a young cast to shine.

Yeol Eum Son's superb performances of Bartók and Finzi are matched by intense and heady readings of Stravinsky and Weir by the BBC Symphony Orchestra under Sakari Oramo. 

Last seen in London in 2023, Turn It Out with Tiler Peck & Friends made a hugely welcome return with the same programme, differently ordered. 

Some of Russell Maliphant's best known, most enduring and loved works in an evening of unforgettable performances.

A last minute injury to Natalia Osipova does not mar the magic of Sir Peter Wright's Giselle as Marianela Núñez steps in to partner Patricio Revé. 

Sophie Laplane's Mary, Queen of Scots has a lot going for it, visually stunning with a pleasing score, but simplistic and overly rapid storytelling brings it to an underwhelming conclusion.

At the Barbican, Laura Bowler's new work for Barbara Hannigan translates Han Kang's novel into a soundscape of icy stillness

Paavo Järvi demonstrates just why the London Philharmonic Orchestra has chosen him as its next Chief Conductor and Artistic Advisor. 

Ballet Black presents a double bill at the Linbury that showcases the strengths of its very fine dancers as well as the depth of choreographic innovation in its vast repertoire.

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. 

Kevin John Edusei, Masabane Cecilia Rangwanasha and the Royal Philharmonic Orchestra celebrate the joys of a life well-lived – rounded off to the sounds of larks ascending. 

Powerful Herbert Howells, together with affecting Shaw and engaging MacMillan from the BBC Singers, with the BBC Concert Orchestra conducted by Sofi Jeannin.

A Mozart's of symphonies – his last – under conductor Robin Ticciati is capped with a fine Jupiter, but is let down by the performances of its two predecessors.

Good, bad, but never ugly, a curious evening unfolds at the Barbican, inspired at times, ill-judged in places.

The Icelandic pianist and Finnish conductor make a superb case for John Adams' latest concerto; the Philharmonia play Ravel's Daphnis et Chloé strongly but don't convince completely.

A bewildering evening at the Barbican, where ambitious Icelandic programming collapses under its lofty ambition of defying genres and making music more appealing to a wide variety of audiences.

Stepping in for Sir Donald Runnicles at very short notice, Lawrences Renes conducts the Philharmonia in a sleek and vivid reading of Bruckner's magisterial Eighth Symphony. 

The Czech orchesta and Daniel Raiskin bring Janáček from Ostrava, along with evergreen Bruch and a noisy Shostakovich Tenth Symphony. 

Never has Brecht and Weill’s satire on the inhumanity of man to man been render with such utter darkness; Simon O’Neill heads up a superb cast.

Seong-Jin Cho continues his Artist Portrait series with the LSO by performing Chopin's poetic Second Piano Concerto. 

Many world class performances to enjoy in this 20th edition of the annual Ballet Icons Gala.

Sir Peter Wright’s Giselle was given a well-deserved, thunderous ovation on opening night. A near perfect rendition of the ballet from all quarters of the Company was deeply satisfying.

In a day of music among friends, superstar pianist Seong-Jin Cho displays his mettle in two demanding programmes of chamber music.

Tenor Ed Lyon fulfils a long-held ambition to sing Monteverdi's Eighth Book of Madrigals, conducted by his former teacher, Laurence Cummings at Milton Court.