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

Clou du festival Présences qui lui est consacré, George Benjamin dirige un Written on skin bouleversant à la Philharmonie, qui rappelle avant tout la richesse de l'écriture orchestrale du compositeur.

Bold and colourful invocations of twentieth-century classics from Ensemble Modern and composer George Benjamin.

With a semi-staged production, directed by Benjamin Davis, the Mahler Chamber Orchestra has also been bringing George Benjamin's opera to concert hall audiences.

A programme of new music and 20th-century classics reflects on loss, war, inhumanity and redemption. 

George Benjamins neue Oper beschreibt eindringlich einen durch Liebe hilflosen König – Hannigan und Degout füllen die tiefgründige Musik mit hingebungsvollem Emotionsspiel.

George Benjamin and Martin Crimp's second full scale opera is a refinement of the craft showed in Written on Skin – but the lessons are less in love and violince than in power, tension and beauty of the score.

A celebration of fifty years of the London Sinfonietta was a well-deserved pat on the back for this valuable institution.

The Royal Opera's first revival of George Benjamin's medieval shocker is characterised by stellar singing performances, notably from Barbara Hannigan and Iestyn Davies.

Shorn of Katie Mitchell’s production and presented on the Barbican Hall’s stage with only the occasional prop, George Benjamin's modern masterpiece Written on Skin came across with even greater intensity.

George Benjamin conducts his explosive orchestral debut in Amsterdam, while exploring some other vastly different soundscapes in a large orchestral setting.

This second of two SCO Britten centenary concerts saw its subject juxtaposed with two living British composers and Mozart. Cynics might consider the closing Symphony no. 40 in G minor (1788) a reward for surviving the rest of the programme’s modernity.

“All music – smiles the minister – is incidental.” So says one of the two singers in George Benjamin and Martin Crimp’s Into the Little Hill, performed to perfection in Wigmore Hall by Birmingham Contemporary Music Group this Saturday.

21st century opera is a broad church. There aren’t many of us, I suppose, who are intimately familiar with the biographical accounts of the lives of 13th century troubadours, popular at the time in Spain and south west France. But Martin Crimp and George Benjamin, librettist and composer of Written on skin, aren’t exactly run of the mill people.