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;

Dalia Stasevska conducts the BBC Symphony Orchestra in a nod to #America250 and Yunchan Lim plays Ravel's jazzy Piano Concerto in G. 

Extra time and penalties beckon as Julia Lezhneva displays rapidfire coloratura and endless stamina in an evening capped with seven encores. 

Timothy Ridout plays Britten and Larcher in a Wigmore Hall programme with the Britten Sinfonia. 

Sara Blanch's Covent Garden debut, together with Juan Diego Flórez on top form, lead a fizzing revival of La fille du régiment from Royal Opera.

It's the world's best opera – if we can define that as the one best suited to the distinctive talents of a composing genius.

The ensemble's performance of Reich's Drumming at Bold Tendencies establishes them once again as premier interpreters of the composer's music.

Slow movements prove the highlights of the latest instalment of the Quatuor Ébène’s Beethoven cycle. What would Elgar and August “Nimrod” Jaeger have thought?

The role of Elvira in Bellini’s I puritani contains the most challenging mad scenes in all opera, but soprano Lisette Oropesa dazzles on the opening night of Richard Jones’ new production.

English National Ballet School and the John Cranko Schule join forces to deliver strong performances in a very diverse programme at the Linbury as part of the Next Generation Festival.

La Venexiana turns Wigmore Hall into a palace somewhere in 17th-century Italy for a delightful lunchtime recital. 

Video projections in the Royal Albert Hall enhance MacMillan’s Sleeping Beauty for English National Ballet but the lack of real set and wings makes the stage seem bare and bleak.

A recreation of the final concert attended by Johannes Brahms marks the closing programme of the Orchestra of the Age of Enlightenment's 40th season. 

Rocío Molina, one of flamenco’s greatest stars turns the warmup into an extraordinary virtuoso display at London’s Sadler’s Wells.

The Next Generation Festival at the Linbury presented Rambert School and the Junior Company of the Polish National Ballet in an evening of contrasting new works. 

The Gala Flamenca has always been a highlight not only of the Flamenco Festival but also of the whole summer in London Dance. This year it exceeded expectations.

An evening of outstanding dancing from the Royal Ballet School and the School of American Ballet. It was a case of spotting tomorrow’s stars in a beautifully balanced programme.

Energetic yet atmospheric performances from Chromatica Orchestra, with Ingunn Korsgård Hagen providing firm yet spirited direction.

A welcome to Acosta Danza Yunior who have bags of potential. However, not all of the choreography engaged their talents sufficiently in this programme.

The Royal Ballet School performing as part of the Next Generation Festival, offered a host of works by both students and internationally renowned choreographers which proved to be highly enjoyable.

Compañía de Danza Jesús Carmona in UnYdos was a stunning evening of pure flamenco artistry, enlivened by a tremendous sense of theatre, and augurs well for the rest of the festival.

An enterprising trio of works by Ligeti, Respighi and Schoeck leave a lasting impression of oppression, alienation and dark nights of the soul.   

In a mismatched pairing of Elgar and Mahler, the London Symphony Orchestra produce immaculate instrumental sound quality, but is that enough?

The Royal Ballet has acquired a double bill from Sol León and Paul Lightfoot that transcended even the highest expectations. An evening to watch over and over again.

Stephanie Childress conducts Sinfonia Smith Square in a Mahler First Symphony with a difference, “semi-staged” by Tom Morris, with both musicians and audience on the move.

Fine performances of Britten's Violin Concerto and Tchaikovsky's Fifth Symphony testify to the superb artistry of Ben Glassberg, Clara-Jumi Kang and the RPO - but a new piece from Joe Hisaishi disappoints. 

Rambert celebrates 100 years presenting a triple bill of recent or new works. The message is clearly to look forward and not back.

While this revival is imperfect, the Cherubino of Svetlina Stoyanova proves a marvel to hear.

All praise should be heaped on Rosie Middleton for her brave evocation and the vocal prowess of her performance in Peter Maxwell Davies’ Eight Songs for a Mad King. 

The Philharmonia, Santtu-Matias Rouvali and Benjamin Grosvenor shine in the recreation of an all-Strauss extravaganza that was conducted in 1947 by the composer himself. 

Amy Lane directs an intimate staging of Missy Mazzoli and Royce Vavrek’s 2018 chamber opera in the compact Milton Court Theatre. 

The Korean pianist astonishes in Schubert and Scriabin, in a performance sure to be a highlight of Wigmore Hall’s 125th anniversary festivities.

Christian Gerhaher and Gerold Huber survey composers from Beethoven to Berg in a varied and deeply moving recital. 

Mount Vesuvius looms over Cecilia Stinton’s compelling new production of Così fan tutte.

Gregory Maqoma’s immersive Return to the Forest delighted a captivated audience at Sadler’s Wells East with a superlative creative team and skilful dancing.

The Orchestra of the Age of Enlightenment under Václav Luks are joined by their own choir and strong soloists for a fresh and colourful performance of Haydn’s Die Schöpfung.

A first half of vocalises gives way to all Strauss after the interval as the Lithuanian superstar soprano helps Wigmore Hall celebrate its 125th anniversary. 

A thoughtful production from Martin Lloyd-Evans and magnificent playing from Matthew Kofi Walden and the City of London Sinfonia make the case for why Puccini's under-appreciated work is actually so sophisticated. 

Dada Masilo wanted her audiences to feel the passion and to leave the theatre with a buzz. In her Hamlet, the commitment of the cast ensures this message still holds true.

Two vivid debuts as Colas, marked the second revival of La Fille mal gardée this season at The Royal Ballet.

The young Spanish violinist proves an ardent advocate for a work originally dismissed as a “Hollywood Concerto” as the BBC Symphony Orchestra closes its Barbican season.

Songs and symphonies from Sir Simon Rattle and the London Symphony Orchestra, concluding with a vision of “heavenly life” from Gustav Mahler. 

Come away fellow sailors, your anchors be weighing! All board the Cutty Sark for a semi-staging of Purcell's Dido and Aeneas with the Monteverdi Choir and English Baroque Soloists.

Fragments by Brahms, Schoenberg and Schubert orbit Beethoven's Waldstein and Schumann's Carnaval in another masterful recital from Sir Stephen Hough.  

A bold choice for Northern Ballet, Gentleman Jack is beautifully danced but doesn’t go far enough in celebrating difference, individuality and freedom.

With Aigul Akhmetshina and Seokjong Baek in the title roles, there are reasons to be optimistic, but The Royal Opera’s revival of Richard Jones’ production is a mixed bag.