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

The Houston Symphony showed the many sides of Bach in a festive performance over the Easter weekend.

English conductor Nicholas McGegan led a responsible reading of Handel's now-classic oratorio, infusing some dramatic and lyrical touches into a largely unruffled evening.

Despite mostly solid work from soloists and chorus, several ensemble problems and overall stylistic decisions diminished this performance's success.

Houston Symphony's Andrés Orozco-Estrada brings remarkable intention to Mozart's sacred masterpiece. 

For almost two decades, Opera Lafayette has been known to DC opera fans as a period-based ensemble reviving long-forgotten gems of French Baroque and Rococo chamber opera repertoire. On Thursday night, the Kennedy Center’s Terrace Theater hosted Opera Lafayette’s most recent creation: its production of Marc-Antoine Charpentier’s pastorale/tragédie en musique Actéon.

Even Mikhail Baryshnikov was curious to stop by the Brooklyn Academy of Music (BAM) on Thursday March 1st to the witness the world premiere of Mark Morris’ A Choral Fantasy. The work sets movement to the score of Beethoven’s Fantasy in C minor for piano, chorus, and orchestra, Op. 80.

Opera Lafayette has uncovered a fascinating work in their revival of Pierre-Alexandre Monsigny’s 1762 comic opera Le roi et le fermier (The King and the Farmer). The Washington, D.C.