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

The refurbished Beacon stages a world premiere of a large choral work which imbues complete empathy for one migrant and his story.

Lindy Hume's new production works reasonably well in allowing the story to be told with sufficient emotional weight.

ENB performs Nureyev's Romeo ad Juliet, a production preoccupied with death, which lurks in every corner.

Kirill Karabits leads the BSO in music by Glazunov and Tchaikovsky, which prove more appealing that David Fray's Beethoven.

The conductor and soloist usually have a close relationship, but rarely are they the same person. Nikolaj Znaider demonstrated his musical prowess as both a violin soloist and as conductor commanding the London Symphony Orchestra.

In Memoirs of a Pear-Shaped Life, Erik Satie, the eccentric French Normandy composer, was defined on stage in three different forms, each with a bowler hat, in a music theatre performance of Satie's life.

Two interlocking grand pianos, the front with its lid removed, centred the stage of pale pink lights at St George’s. The Labèque sisters, Katia and Marielle perform Ravel, Schubert, Bernstein and Glass. 

Laurence Cummings and the Orchestra of the Age of Enlightenment celebrate two anniversaries in a programmed of works by Johann Sebastian Bach and his sons. 

The fugue made an interesting subject for the Brodsky Quartet’s concert at St Georges. The programme delved into the fugue’s cross over between eras, from Baroque, all the way to early expressionism.

Richard Boothby gave a simple and informative evening’s concert of Telemann’s 12 fantasias at St Georges, Bristol.

To see three passionate ambassadors of their instruments performing together made a sensationally satisfying evening at St Georges, Bristol.

The Royal Philharmonic Orchestra presented a space-themed concert in an exciting evening’s programme of many well-known pieces rolled into a couple of hours.

Elena Langer and David Pountney's new WNO opera Figaro Gets a Divorce did not disappoint. Langer's new refreshing score had flair and imagination in a memorable performance.

Welsh National Opera's new production of The Barber of Seville disappoints in an uncoordinated performance in Bristol. 

Sir John Eliot Gardiner conducts the English Baroque Soloists through three Mozart Symphonies in one evening, educating along the way.

The Bournemouth Symphony Orchestra returned once again to the Colston Hall to perform three very different works. Steven Isserlis headlined the evening with a fantastic rendition of Shostakovich’s Cello Concerto no. 1.

In the first of two performances of this concert, St. George’s welcomed Michael Barenboim and the Oxford Philharmonic Orchestra, previously known as the Oxford Philomusica.

This was, by no doubt, the largest ensemble on stage at Colston Hall this season with five choirs and an orchestra that took over the stage. 

The 82-strong Philharmonia Orchestra, under the baton of Vladimir Ashkenazy, ruled the roost at one of the highlights of Bristol’s 2014-15 classical music season.

Having recently retired after a herniated disc weakened his bowing arm, Julian Lloyd Webber took to the stage last night at St George’s, Bristol as part of a tour he had created to tribute and reflect upon his performance career as one of the world’s leading cellists.

A short one-hour concert of chamber wind instrument music placed itself neatly tucked away in The Lantern at the Colston Hall as part of the returned Tuesday Lunchtime Concert Series.

In an evening entitled “Pulse: Steve Reich and his influences”, the Aurora Orchestra set out to give three examples of pieces that influenced American minimalist composer Steve Reich alongside performing two of his pieces.

The youthful duo, British Violinist Thomas Gould and Latvian accordionist Ksenija Sidorova took to the stage at the intimate St George’s Concert Hall for a more relaxed ‘Late Night Classical Café’.

A select group of musicians provided a modest programme of chamber music at St George’s alongside renowned pianist, Paul Lewis.

Miloš Karadaglić plays his debut at Colston Hall with Brussels Philharmonic under Michel Tabachnik. 

The Aurora orchestra chose one of the most eclectic mixes of music that St George’s has seen in a classic music concert inspired by the home, opening the eyes of Bristol to a strange variety of pieces. 

The Welsh National Opera took to the Hippodrome stage for the Bristol leg of their UK tour ofCarmen. This was a revival of Welsh National Opera’s production in the late 1990s, co-produced with Scottish Opera.

The Philip Glass Ensemble came to Colston Hall as the culminating event of Bristol’s Glassfest collaboration between the Colston Hall, St George’s and the Watershed cinema to present the première of Philip Glass Ensemble: Retrospective. 

After a successful visit to Bristol two years ago, Glass returns to St George's for a sell-out solo performance as part of Bristol Glassfest celebrating the American minimalist composer's music.

The BBC National Orchestra of Wales crossed the river to England to deliver an evening of the music of Brahms culminating in the giant Symphony no. 1 in C minor, Op. 68.

After a hugely successful concert at last year’s Clifton International Festival of Music, Ars Eloquentiae took us on a journey back in time to the Baroque stage for “A Tale of Two Cities: London and Paris, Stage and Street” at the Clifton Cathedral.

This second concert of the Clifton International Festival of Music was a sparkling gem amongst concrete presenting no less than three world premières as part of the Orgelbüchlein Project.

Can you imagine being a concertgoer in the early years of the 18th century, when Corelli, Vivaldi, Bach and Handel were all writing new music and performers were being pushed to find new ways of playing?

Michael Nyman celebrates his 70th birthday and the 40th anniversary of the Michael Nyman Band with a concert mainly encompassing his film scores at the Colston Hall. 

At the second screening of three, the British Sinfonietta provided a live accompaniment to an Alfred Hitchcock 1960s masterpiece. Psycho Live! was a chance to see the powerful effect of American composer Bernard Herrmann‘s motion picture music played by a real orchestra.

The Exultate choir played alongside His Majesties Sagbutts for an evening of music from St. Mark’s Basilica in Venice, some of which hadn't been heard for over 400 years.

In the world of concert music, it is a rare privilege to witness the first ever performance of an instrument in Britain, let alone a whole host that have been specifically created for a piece of music. A stage full of weird and wonderful creations took over the Colston Hall for one of the most surreal concerts I have ever attended.

The theme to the evening’s programme at the Colston Hall was “The Power of Love”. Spread over a century, the three works programmed were all romantically driven.

Never failing to provide an interesting programme, Bournemouth Symphony Orchestra performed the music of Rimsky-Korsakov, Tchaikovsky and Shostakovich under the baton of the BSO’s Conductor Laureate Andrew Litton.

In a Russian programme of Orthodox Sacred music, folk songs and works by composers from old Russia, Anatoly Grindenko and the Russian Patriarchate Choir of Moscow took Colston Hall, Bristol into the mesmerizing world of unaccompanied Russian male vocals.

On walking into the foyer of Colston Hall, I was greeted by the sound of a jazz band playing The Girl from Ipanema. This was not quite what I expected from the Colston Hall’s “Symphony Project”, but nevertheless a tasteful and welcoming opening, that created a cheerful atmosphere.

In a rare appearance outside London in the UK, world-renowned Russian violinist Viktoria Mullova, harpsichordist Ottavio Dantone and the Italian ensemble Accademia Bizantina took to the stage at St George’s Bristol to perform four Baroque concertos by J.S. Bach.

Winter has struck Bristol pre-emptively this year, and finding a nice, warm place to hide on a Sunday morning is a good way to lessen the hold of its icy clutches.

On entering St George’s Bristol, we were given a sheet of paper with a biography and the names of a handful of composers – the programme hadn’t been announced beforehand, and was only revealed during the concert by John Williams himself. He introduced each piece with a little context, varying from a piece’s personal relevance, to its historical background.

It would be hard to count out every single thing that was Russian about this concert. The sounds of 19th-century Russia came to Colston Hall, as part of a big tour of the UK, with three giant Russian works and three encores, by all-Russian performers.The Tchaikovsky Symphony Orchestra of Moscow Radio is a big orchestra with around 100 instrumentalists.

The second of five concerts in the (deep breath) Autumn 2013 International Music Seminar Prussia Cove Open Chamber Music Tour saw the musicians giving their all for a BBC Radio 3 recording at the acoustically sensitive St George’s Bristol.It’s not often that you see such an age range among musicians taking to the stage.

The Bristol Classical Players and conductor Tom Gauterin normally focus their concerts around a series of works from a particular era or composer, but this time they did something a little different. We heard the rarely performed Piano Concerto in G minor by Dvořák, sandwiched between Beethoven’s Fidelio overture and his Fifth Symphony.

Embarrassing puns aside, the music of Arvo Pärt is hardly the staple fare of late-night revellers on Bristol’s Park Street, especially on a Friday. Tucked just around the corner, though, St George’s was celebrating the end of the long summer drought of live classical music courtesy of the Choir of Royal Holloway – fresh from their tour of the Balkan states – and the Bristol Ensemble.

The last night of the Bristol Proms was experimental. A full house at the Bristol Old Vic Theatre was greeted by artistic director Tom Morris to introduce this semi-staged version of Handel’s Messiah – last performed in the venue in 1782, when it was too sacrilegious for churches. Morris said that Handel was “a dramatist”, and to honour this, he took a more theatrical route with this performance.

The inaugural Bristol Proms are nearly over. Indeed, if you’re reading this any later than Saturday evening, they’ve been and gone. The festival, run by the Bristol Old Vic, has deliberately been unlike its London namesake.