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

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

Mark-Anthony Turnage's operatic adaptation of Thomas Vinterberg's tale of abuse provides rich entertainment even as it shocks.

A deeply satisfying performance of Vaughan Williams' Fifth Symphony crowns an excellent evening of English repertoire at the Barbican. 

A trio of English works, including the UK premiere of Mark-Anthony Turnage's virtuosic Time Flies. 

Jump-ins are always risky: Kirill Karabits took over this LSO programme from Sir Simon Rattle. Though he left his mark with Debussy and Berlioz, his credentials in Mahler were open to question.

Reminding us of the timeless relevance of myth, Joe Hill-Gibbons’s Scottish Opera production of Greek moves to Hannover with a few contemporary twists.

Zwei unbekannte Opern von Marc-Anthony Turnage und Leonard Bernstein werden im Staatstheater Darmstadt als Doppelopernabend aufgeführt.

Mark-Anthony Turnage's First World War opera both moves and dazzles at the Barbican.

Emily Newton ist der Star im Zentrum der beeindruckend rasanten Aufführung von Mark-Anthony Turnages Oper Anna Nicole am Staatstheater Nürnberg.

The perfect invitation to daydream on a hot afternoon. 

Mark-Anthony Turnage's take on Neil Gaiman's classic young adult novella is well sung and well staged, without quite reaching peak intensity.

Alex Otterburn as East End Eddy gives a towering performance in Scottish Opera’s revival of its Edinburgh Festival production of Mark Anthony Turnage’s Greek.

An enterprising programme combined a striking WWI commemoration from Mark-Anthony Turnage with sumptuous ballet suites from Prokofiev and Ravel, with Nikolaj Znaider rhapsodic in Bruch.

As a composer, what do you do when you are commissioned a full-length orchestral work to commemorate the anniversary of a renowned concert hall? Do you try to write something celebratory? Not in Mark-Anthony Turnage's case. 

Simon Rattle wählte für das letzte Abonnementkonzert zwei Serenaden für Bläser aus dem 19. Jahrhundert, sowie eine Deutsche Erstaufführung.

Virtuosity commanded the stage in the first half, drama and mood in the second, with Liam Scarlett’s new ballet a fitting tribute to the retiring Zenaida Yanowsky

Sir Simon Rattle and the LSO delve deep in Mahler's sixth symphony and provide new perspectives in a thoughtful and impressive world première by Mark-Anthony Turnage.

The Royal Ballet premieres Christopher Wheeldon's Strapless, and performs two other ballets by the choreographer for the first time.

The correlation between music and painting is one of the most interesting and long existing themes in the history of art.

A l’occasion de sa seconde collaboration artistique avec le Ballet de l’Opéra de Paris, le chorégraphe britannique Wayne McGregor nous propose un voyage chorégraphique dans l’univers du peintre Francis Bacon.

Mit einem Programm von kritisch-ernst bis herzerfrischend begeisterte das das Münchner Kammerorchester im Prinzregententheater unter dem Motto „Kindheit“ und fand dafür in Steven Isserlis einen kongenialen musikalischen Wegbegleiter.

Mark-Anthony Turnage's Passchendaele, his WWI-themed piece, received its UK première this evening, in a concert given by the CBSO Youth Orchestra. 

Royal Opera’s first rival of Anna Nicole opens to an enthusiastic student audience. Eva-Maria Westbroek dazzles, but second time round the work seems even more burned by its clumsy libretto.

As part of the last full weekend of Southbank Centre's The Rest is Noise festival, Vladimir Jurowski and the London Philharmonic Orchestra presented a programme of British orchestral music from the 1990s.

Greek packs a punch. Especially in Music Theatre Wales’ simple production, here at the Royal Opera House Linbury Studio Theatre. Mark-Antony Turnage’s music brings Steven Berkoff’s play to life.

Arcomis is a Cardiff-based organisation concerned with the promotion and commissioning of new music. Modest yet effective, most of their work is at an essential grass-root level, yet, seemingly out of nowhere, they have conjured an incredibly bold and wide-ranging three-day festival of brass based at Cardiff’s St David’s Hall, the Cardiff University Music Department and the Royal Welsh College of

In the 15,606 concerts given by the New York Philharmonic and its predecessors before this, Beethoven’s Ninth Symphony had received nearly 200 renditions.

During the opening night of Anna Nicole at BAM, I found myself experiencing a case of déjà vu. New York City Opera was electrifying the Howard Gilman Opera House with a work by a living composer featuring the salacious story of a female protagonist whose life was splashed across tabloids, and at one point even featuring an act of fellatio with the disjointed music carrying on in the background.

To celebrate the 200th anniversary of the Royal Philharmonic Society, and supporting their ethos of “music for all”, Prom 38 was completely free.

Mark-Anthony Turnage and the London Symphony Orchestra, conducted by Daniel Harding, have thoroughly dominated this week in the Barbican Hall. Firstly with a high-profile performance of the composer’s trumpet concerto From the Wreckage on Tuesday, and then the first performance of his new, purely orchestral piece Speranza on the Thursday.

Tuesday evening’s concert was technically the start of a short residency for Mark-Anthony Turnage with the London Symphony Orchestra, but a smouldering performance on the podium from Daniel Harding came close to drawing attention away from the featured composer.

Francis Bacon’s painting Blood on the Floor shows a splash of blood on a wooden floor, surrounded by orange walls with a light bulb and switch above it. This painting originally inspired Mark-Anthony Turnage to write this one-movement piece of the same name, commissioned by the Frankfurt-based Ensemble Modern in 1993 and premièred in 1994.

The first night of the Proms was, in this year of Olympic celebrations and the Diamond Jubilee, a tribute to all things English, featuring an impressive range of singers and a (somewhat appropriate) relay team of stellar English conductors. The programme began with a strange mixture of old and new.

Combining Steven Berkoff’s brutally in-yer-face libretto with the gutsy music of Mark-Anthony Turnage was bound to be an explosive mix. The result was Greek, Turnage’s first opera (or, more accurately, Singspiel), first performed in 1988 and now given an inspiring new airing from Music Theatre Wales. Berkoff’s text was adapted from his own play, based on the Oedipus myth.

The uncluttered stage mirrored the promised clarity of quality string quartet writing and playing; four chairs, four music stands, BBC microphones suspended on a wire, promising a future broadcast. A capacity Queen's Hall audience of 900 welcomed this young quartet, a decade after their Edinburgh International Festival début.

When is an opera not an opera? Some would answer this question with “when it’s a musical”, but such a response says more about our own preconceptions of what opera and musical theatre represent than it does about the works themselves.

In case you've somehow missed the hype, Anna Nicole is the Royal Opera's newly commissioned opera about the life of Anna Nicole Smith, a girl from Texas who married an elderly billionnaire, became a model and celebrity sex symbol who received gigantic media exposure, and died of a drug overdose a few months after the death of her son.