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

Masaaki Suzuki dirigió la magnífica obra de Johann Sebastian Bach buscando la unificación en el rezo y en la que los talentos individuales mejoraban la expresión conjunta.

Die Rückkehr Suzukis mit Bach in die Kölner Philharmonie zum Auftakt einer neuen Europatournee war geprägt von Sinn, Glaube und Dankbarkeit.

À la Philharmonie, Raphaël Pichon et son Ensemble Pygmalion proposent une lecture d’une formidable intensité de la Messe en si de Johann Sebastian Bach.

Eine überwältigende Interpretation voller Beweglichkeit und Bewegung, mit exzellentem Pygmalion und Solisten-Klasse, die lange nachscheinen wird.

Even Baroque specialist John Butt could not persuade the BBC Symphony Chorus to sing in tune

Three concerts over one day at the opening weekend of Bachfest Leipzig combined Bach’s music with that of composers from Rachmaninov to Sibelius, but nothing matches the unrivalled bliss of Bach’s own music performed with total conviction.

Das ausgefallene Oratorium war beim Ensemble Pygmalion und Raphaël Pichon in esprithaften Händen und berührte mit Lust für das Drama.

John Butt and the Dunedin Consort closed the Oslo Church Music Festival with fine performances of CPE Bach and Mozart, even though the concert didn't prove quite as innovative as advertised.

The Dunedins venture south to show London how to play and sing Purcell.

Masaaki Suzuki and the Bach Collegium Japan deliver a generally satisfying Mass in B minor.

Masaaki Suzuki leads Bach Collegium Japan in delicate renderings of the Orchestral Suite no.3, the Double Concerto and the Magnificat that convince more in the slower passages.

Das Concerto Copenhagen unter der Leitung von Lars Ulrik Mortensen eröffnet mit Israel in Egypt das diesjährige Resonanzen-Festival.

Raphael Pichon, seine Solisten und sein Ensemble kratzten mit kleineren solistischen und orchestralen Einschränkungen vor allem aufgrund der hervorragenden Chorleistung knapp an der Höchstwertung.

John Butt and Dunedin Consort delight Dunbar Parish Church with Acis and Galatea

Since reading Stravinsky’s assertion (in Poetics of Music) that “The more constraint one imposes, the more one frees oneself from the chains that shackle the spirit”, this paradox has fascinated me.

A deep red hue lights the stage. It is St George’s day and King Arthur’s Britons are about to fight the invading Saxons. Centre stage, four soloists – Saxon priests – are gathered to perform sacred rites to ensure their victory. To the left of the stage a harpsichord plucks out a tune above a bass viol and theorbo, whilst to the right a spotlight falls on Merlin, who relates the story.

With such a star-studded line-up at a concert that had been sold out for weeks, this was always going to be an evening to remember. Bach’s St Matthew Passion is one of those iconic pieces that never gets old, and every time I hear the throbbing bass of the opening chorus, I still get a tingle of excitement.

Handel’s Messiah is a challenge to any conductor, particularly in the English-speaking world. It’s probably the best-loved piece in the classical repertoire, guaranteed to bring people out in great crowds. You can’t mess with Messiah, but at the same time, there’s a danger of sinking into tired tradition.

The motto of the Lammermuir Festival, now in its third year, is “beautiful music in beautiful places”. Few settings are more striking than St Mary’s Parish Church in Haddington.

James Waters, Director of Classical Music at Horsecross, explained that he had been waiting for two years to welcome the Bach Collegium of Japan to Perth Concert Hall, with its especially good acoustic for baroque music.

Since its first performance in 1742, Handel's Messiah has become one of the world's most popular and widely performed oratorios. With a biblical libretto which tells the story of Jesus from the Nativity to the Ascension, and stunning, joyous choral parts that lend themselves equally well to small and large choirs, the Messiah has become a festive must-hear.

A career woman, a femme fatale, a shop girl, an actor, a teacher, an idler, a biker, a priest, a bank clerk and five circus acrobats. These are not the figures that come to mind when we think of Purcell’s Fairy Queen.