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

Rather than addressing indigenous genocide, Stockhausen's Am Himmel wandre ich and Chacon's Asdzaa Nádleehé and Yoolgai Asdzaa took native American poetry and myth as setting for an evening of unusual song. 

Trotz ungeheurer Energie in manchen Werken, gab es viele Ungereimtheiten in einem gut gemeinten Programm.

Pierre-Laurent Aimard, Tamara Stefanovich, and Marco Stroppa came together in synergistic harmony to deliver a searing performance of Mantra

In the final instalment of aus LICHT, the Helicopter String Quartet lives up to the publicity hype and choirs perform marvellous feats.

The second day of aus LICHT is one mesmerising highlight after another, including the Netherlands Youth and Children’s Choirs in one magical and one sinister procession.

Music at its most urgent extremes from Pierre-Laurent Aimard in the Southbank Stockhausen festival.

The performers in Part 1 of aus LICHT at the Holland Festival are amazing, but the production doesn’t rev up until the Archangel Michael goes on his dizzying world tour.

The evening left you in no doubt that in Donnerstag aus Licht is more approachable than many would imagine, as well as being a major creative achievement that is crying out to be explored by opera houses.

Dans la salle omnisport d'un lycée hôtelier, le Printemps des Arts de Monte-Carlo a placé ses haut-parleurs pour une expérience singulière et mémorable : Oktophonie de Karlheinz Stockhausen.

La 29e édition du Festival Présences de Radio France nous introduit au compositeur Wolfgang Rihm, avec des créations d'Hugues Dufourt et Martin Matalon ainsi que Refrain de Karlheinz Stockhausen.

Le premier volet du cycle Licht, Donnerstag aus Licht, est monté pour la première fois en France par l'ensemble Le Balcon, sous la direction de Maxime Pascal. Un art total dans une œuvre-monde, déroutante et fascinante à la fois.

Over 10 years after his death, Karlheinz Stockhausen still occupies a complex and difficult place in the canon of contemporary composers. This year's Musikfest Berlin featured a Stockhausen focus, of which the "creation ceremony" Inori was the climax.

À la fois concert symphonique, spectacle de danse, prière et rituel mystique, Inori, qui veut dire « Adoration » en japonais, est une oeuvre de Stockhausen d'une beauté rare, pour orchestre et deux danseurs.

Two new music specialists revel in the sheer textural variation of Kontakte. 

A rare performance of Stockhausen’s Stimmung, a key work in the development of contemporary vocal music, proves it still has resonance 50 years on from its première.

All credit to the Barbican for showcasing Stimmung and Cosmic Pulses.

Beim Holland Festival gelang den Gebrüdern Jussen eine beinah überirdische Interpretation des Stückes Mantra von Karlheinz Stockhausen.

Im Nachhinein dominieren in diesem Baseler Stockhausen-Revival die Impressionen des dritten Aktes und damit die Erinnerung an eine reichhaltige Komposition, ausgezeichnete Sänger und ebensolche Instrumentalisten.

The Berliner Philharmoniker’s Academy is the future of this city’s most famous orchestra. Established 40 years ago by Herbert von Karajan, a third of current Berliner Philharmoniker members are Academy graduates.

Vivier and Stockhausen's dreams and darkness take centre stage for a night during Geneva's Archipel festival. 

Une même obsession du temps chez ces compositeurs, mais des conclusions radicalement divergentes. Concert ambitieux, dont la réalisation fut cependant gênée par des temps d'attente ridiculement longs et un contresens majeur dans Gruppen, suite à une configuration spatiale aberrante.

Eine Fülle an Eindrücken erwartet den Zuschauer in der Berliner Produktion von Stockhausens Originalen.

Composed for six amplified voices, Karlheinz Stockhausen’s seldom performed Stimmung evokes a meditative atmosphere through esoteric mysticism and complex serial methods of aleatoric construction.

Klang in Zeit und Raum: Die Uraufführung von Karlheinz Stockhausens Carré begeistert beim Eröffnungskonzert der Darmstädter Ferienkurse.

Péter Eötvös conducts the WDR choir and the Ensemble Intercontemporain in Stockhausen at the Cité de la Musique.

London, along with a large portion of the world, spent most of summer 2012 in awe of an elite group of athletes, cheering on their every move as they undertook a series of arcane but technically demanding tasks in public.

Karlheinz Stockhausen has done rather well out of this weekend’s instalment of Southbank Centre’s The Rest is Noise festival, with his music featuring in all three of the concerts as well as the mouthwatering additional event “Breakfast with Stockhausen”.

After the epic grandeur, sweep and immersive quality of Gesang der Jünglinge at this summer’s Proms, this performance as part of Southbank Centre’s The Rest is Noise festival had a lot to live up to. In many ways, however, this far less ostentatious outing overseen by Sound Intermedia got even closer to the work’s disturbing essence.

Tonight’s Stockhausen Prom was in equal parts sonic experience and performance.In an introduction to a performance of Gesang der Jünglinge in 2001, Stockhausen proposed that “if you close your eyes every now and then, you might even see these angels”. In a concert performance this isn’t an empty suggestion; Gesang der Jünglinge is a truly acoustic experience.

My preparations for a Thursday evening trip to Lincoln Center: studying the super-formula of Stockhausen’s 29-hour opera project, entitled Licht; choosing an outfit in the perfect shade of cerulean; girding myself for a panic attack similar to the one I experienced the last time I witnessed a section from Licht (Oktophonie).

The 1960s and 70s are famous for breakthrough developments in rock music, but the story was really no different for the field of art music during those decades. The advent of electronics seems to have instilled in composers a fresh thirst for sound-exploration and conceptual writing.

“Welcome! Please remove your shoes and leave them under the benches to your right, and then put on this cloak.”Had I stumbled into Hogwarts? A cult ritual? No, I was just one of hundreds of curious concert-goers filing into the Upper East Side’s Park Avenue Armory for a rare musical event.

Birmingham Opera Company’s production of Mittwoch aus Licht, Karlheinz Stockhausen’s six-hour sonic exploration of light, love, and the boundlessness of the human imagination, was a triumph from start to finish, and an unforgettable experience. Graham Vick’s spectacular production fostered a sense of child-like wonder that continued unabated throughout the night.

Dangle the term “modern music” in front of your average classical music listener and chances are their reaction will range anywhere from polite indifference to outright bile-spewing hatred.

There's classical music, and there's pop. You can throw as many violins into the bridge section as you like, and you can amplify the orchestra all you want as well. It's unfortunate, but a certain divide looks set to stay.

Canadian pianist (and sometime composer) Marc-André Hamelin can play anything. Or so it would appear from his recital at Wigmore Hall last night, his first concert in London following his dazzling all-Liszt Prom last Summer.