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

Martyn Brabbins and Claire Booth are among the Nash Ensemble's regular collaborators celebrating the group’s 60th Anniversary, marked by four world premieres.

Engaging performances, including two world premieres, are served up by one of Kings Place's partners in the ‘Scotland Unwrapped’ season. 

Belle idée que d'associer les Eight Songs for a Mad King de Peter Maxwell Davies et des Kafka-Fragmente de György Kurtág, dans une mise en scène de Barrie Kosky et avec un ensemble d'interprètes brillants !

Sir Simon Rattle and the LSO open their 2021-22 season with an eclectic mix of British music that sees the orchestra at its most lustrous. 

Alpesh Chauhan and the BBCSO give a finely judged “Scottish” Symphony, Timothy Ridout plays Sally Beamish's haunting Under the Wing of the Rock and a riotous Orkney Wedding with Sunrise concludes a celebration of Scotland. 

Regisseur Stefano Simone Pintor schafft ein Paradebeispiel für die Verbindung der guten alten Oper mit unserer Gegenwart.

Andreas Weirich inszeniert ein grandioses Stimmtheater mit einem sowohl gesanglich als auch darstellerisch fantastischen Holger Falk.

The vocal part requires a range covering over five octaves, from the lowest bass notes to a high falsetto and Robert Tucker coped amazingly with the score’s lyrical elements and the various shrieking, whispering and clucking noises he was called upon to create.

Two contemporary operas give us darkness and death in riveting, inexorable performances. 

Scotch snap aplenty in evening of “Scottish Fantasy” with Hong Kong Philharmonic. 

We were drenched in all sorts of dreams about Scotland as the Philadelphia Orchetra celebrated the country in their British Isles Festival

The Birmingham Contemporary Music Group present an ambitious mixture of experimental chamber music and disquieting monodrama. 

Oliver Knussen and the Birmingham Contemporary Music Group excel in a cunningly linked group of works from the old (mid 1980s) to the brand new.

The CBSO's former music director returns to his old stomping ground for a programme that mixed a Romantic staple with an austere 20th-century work.  

Psappha and The Hebrides Ensembles celebrate 25 years of music-making with a new commission, a tribute to Maxwell Davies and Schoenberg’s soulful  Verklärte Nacht.

Johannes Moser summmoned the other in Dutilleux's Baudelaire-inspired cello concerto, but the BBC Philharmonic and Juanjo Mena gave a mundane account of Elgar's First Symphony. 

The combined forces of various LSO and Guildhall ensembles come together in an evening that was, in turns, poignant and thrilling to perform Peter Maxwell Davies's last work. 

A programme of personal choices curated by George Benjamin in collaboration with Oliver Knussen – that didn’t quite hang together but with two UK  premières it was a fascinating evening. 

The Royal Opera House get us in the mood for Halloween with a deliciously creepy, lean production of Sir Peter Maxwell Davies' The Lighthouse. 

A double bill from Sir Peter Maxwell Davies and Tarik O'Regan gives us two unsettling portraits of women whose lives have been indelibly touched by the eternal: an unamed Victorian medium, and the Virgin Mary. 

Forward-looking programme celebrates contemporary repertoire, with two world premières in a concert of works written within the last 35 years.

Judith Weir's music didn't have the pride of place it deserved at this miscellaneous collection of music from past and present Masters of the Queen's Music, presented by the Park Lane Group at the Sam Wanamaker Playhouse. 

Coupled with its exquisite landscape, the mystery and legend that permeate Scotland’s atmosphere and history have inspired poets, artists and composers to capture its magic and distinctive folklore in evocative works of art. 

The Proms celebrate the 80th birthday of one of the UK's most fascinating and engaging composers with musical images of fierce weather and strong whisky.

Sian Edwards leads a powerful exploration of Max’s chamber works at Cadogan Hall, with extraordinary solo turns from Tim Gill and Rebecca Bottone.

In a well constructed programme of Sibelius, Maxwell Davies and Bridge, good energy and many moments of beautiful orchestral playing are marred by timing errors and dynamics.

Inspired by the sight of sixteen swans in flight, the great swinging horn call in the final movement of Sibelius Fifth Symphony is one of the most life-affirming moments in the composer’s output. If this ‘Swan Hymn’ glowed rather than blazed brightly last night, it was the journey there which impressed in the hands of Thomas Søndergård, Principal Conductor of the BBC National Orchestra of Wales.

Lapland Chamber Orchestra debuts at the Proms with a brilliant performance ranging from unusual classical pieces such as Sibelius’s intimate and tender Rakastava to disturbing contemporary pieces by Birtwistle and Davies. 

The London Symphony Orchestra premières Peter Maxwell Davies' tenth symphony, and Maxim Vengerov plays Britten's Violin Concerto at the Barbican.

There was a collaborative spirit underlying this performance with the London Symphony Orchestra and Antonio Pappano, joined for a brilliant Brahms concerto by Janine Jansen. Walton's First Symphony and a Peter Maxwell Davies fanfare also marvelled.

Sir Peter Maxwell Davies, Scottish Chamber Orchestra composer in residence in the late 1980s, seemed an appropriate choice to write a piece for this, the orchestra’s 40th anniversary year. As the title suggests, Concert Overture: Ebb of Winter was written during the approach of Spring this year and portrays the changing seasons in Maxwell Davies’ adopted homeland of Orkney.

The Royal Academy of Music tonight presented the fruits of their latest postgraduate opera course with two short operas representing opposite ends of the musical timeline.Purcell’s miniature three-act opera really needs no introduction.

This Richard Thomas Foundation concert at Southbank Centre’s Purcell Room introduced us to two completely new works, and presented two slightly older pieces too for good measure. All were beautifully played by a top selection of performers, making for an excellent demonstration of the power of new music.

Sydney Chamber Opera’s latest venture, a production of Sir Peter Maxwell Davies’ 1979 piece The Lighthouse, played to a packed Carriageworks theatre on Monday. In an era when the continued viability of classical music institutions is debated hotly, the fact that this new company can pull in the crowds for a challenging modernist work is cause for congratulation.

The Jam House is a jazz and blues club occupying the BBC’s former Queen Street Studios in Edinburgh. Now owned by Jools Holland and designer Neil Tabbitt, its spacious Georgian interior is occasionally given over to theatrical and musical events.

New music sounds all the newer when played by new performers, and so the Royal College of Music’s New Perspectives concert was refreshing to say the least, with a programme played by the College’s own ensemble featuring two world premières and two more pretty recent works.

With its small raised platform and steeply seated audience, the Linbury Studio Theatre was an auspicious venue for the English Touring Opera’s production of Peter Maxwell Davies’ chamber opera The Lighthouse (1979). The trelliswork of metal bars encircling the stalls and the bleak lighting effects gave this performance a befittingly industrial air.

I can’t work out if it was surprising or to be expected that Maxwell Davies, part of the New Music Manchester group that included Birtwistle and Goehr, should have become Master of the Queen’s Music.

In 1900, a relief ship arrived at a lighthouse in Northern Scotland's Orkney Islands, and discovered the three lightkeepers had gone missing without a trace. Peter Maxwell Davies' opera The Lighthouse takes this moment of history and explores the possibilities of what may have happened. It is a stormy ride of shifting identities, guilt and fear.

On Tuesday night at Cadogan Hall near Sloane Square the audience was treated to an expertly mastered programme of 20th century Polish music by Górecki, Lutoslawski and Szymanovski as well as the Overture, St. Francis of Assisi by Sir Peter Maxwell Davies. The latter had its London premiere that night.

The Last Night of the Proms isn't really a concert: it's more like going to the cast party for the Proms season.