En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Coro dell'Accademia Nazionale di Santa Cecilia

The Swiss conductor returns to the Accademia Nazionale di Santa Cecilia, presenting a triptych of pieces by Schumann, Debussy and Zemlinsky inspired by the season of renewal.

Thomas Adès takes the audience in Rome into paradise, or the ascension into Dante's heavens, as his Paradiso makes its first appearance in Italy in a programme dedicated to the celestial world. 

The conductor directs the Accademia Nazionale di Santa Cecilia and Theatres of Voices in contrasting symphonies by Berio and Stravinsky.

Masabane Cecilia Rangwanasha is the pick of the soloists in a weighty reading of Mendelssohn's Lobgesang under Kazuki Yamada. But can Schubert's Fifth withstand the same approach? 

Santa Cecilia's newly-appointed Principal Guest Conductor Jakub Hrůša leads an all-Czech concert, promising a bright future in Rome.

Gardiner's vivacious conducting of the Orchestra dell'Accademia Nazionale di Santa Cecilia made this performance one to remember.

After their "military" theme last week, Daniele Gatti and Markus Werba turned towards nature for their second programme with the Orchestra dell'Accademia Nazionale di Santa Cecilia.

L'orchestre et le chœur de santa Cecilia ont marqué la fin de la Semaine Sainte d'un grand moment de musique et de spiritualité avec ce bel hommage au Cantor de Leipzig. 

Pour leur troisième soir de représentation, les musiciens de l’Accademia Nazionale di Santa Cecilia et Ton Koopman ont offert au public de l’Auditorium Parco della Musica une performance faite de rigueur et de complicité.

Released from the incarceration of directorial prison walls, Fidelio can still make a most powerful impact on the concert platform.

L’Accademia organisait, ce mardi 4 novembre, un dynamique concert entièrement dédié à Antonio Vivaldi, dans la fameuse salle Santa Cecilia de l’Auditorium Parco della Musica de Rome. 

Hans von Bülow taunted that Verdi’s Requiem was just another of his operas “in ecclesiastical garb’”. It’s difficult to disagree when dispatched with as much operatic fervour as Antonio Pappano mustered here. 

Tony Pappano’s recipe for a concert programme: take a 20th century Italian one act opera, follow it with a romantic symphony chopped in half, then throw in a related German aria; play without a break. It may sound like a train wreck in the making, but the result was a triumph.

Celebrating the 100th anniversary of Benjamin Britten’s birth, Antonio Pappano led the Accademia Nazionale di Santa Cecilia Orchestra and Choir, together with first-class soloists, in an intense performance of the War Requiem.

No surprise to find a Verdi programme at the Proms in his bicentenary year, but what was unusual was the focus on sacred music, given his antipathy towards the church as demonstrated in his more prolific output, his operas.

On Saturday night, Antonio Pappano and his Roman orchestra and chorus, the Accademia Nazionale di Santa Cecilia, brought us the first opera of the 2011 Proms- Gioachino Rossini's William Tell.