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

Con instrumentos barrocos invitados, la OFUNAM nos ofreció su versión de la Pasión según San Juan explorando posibilidades y combinando elementos de la interpretación históricamente informada con los recursos propios de la Filarmónica. Como resultado, disfrutamos de una versión interesante y coherente bajo la atenta dirección de Massimo Quarta.

A rare outing for Szymanowski's Stabat Mater forms the highlight of an imaginatively 'spiritual' Prom at the Royal Albert Hall.

Sir Peter Hall's classic staging of Britten's Shakespearean comedy nears a landmark moment in Glyndebourne’s autumn season. 

In Hamburg, George Petrou’s Göttingen presentation of Solomon weaves regal authority and tender humanity into a vivid exploration of justice’s timeless complexity. 

Kazuki Yamada and the CBSO and Chorus weave Baroque and Romantic allusions into Haydn’s Classical masterpiece, in a superb, at times operatic, performance at Symphony Hall.

Combining operatic grandeur with intimate grief, Markson, soloists, the NSO and NSC deliver a masterful performance of Charles Villiers Stanford's Requiem. 

In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings? 

A concert performance of a Purcell semi-opera can never fully succeed, but compromise is worth it, if it enables us to hear a significant part of a major composer's output.

A strong revival cast, conducted by Dalia Stasevska, demonstrate why Sir Peter Hall's 1981 vintage staging of Britten’s A Midsummer Night's Dream is such a classic. 

Magnifiquement interprétée par Les Talens Lyriques et le Chœur de chambre de Namur, l'œuvre de Bach a éclipsé le Stabat Mater de Pergolesi, donné par un B'Rock Orchestra et un René Jacobs en petite forme.

With Laurent Pelly directing, a very French evening sees a veritable feat of singing from Stéphanie d'Oustrac in La Voix humaine, followed by riotous surrealism in Les Mamelles de Tirésias.

The City of Birmingham Symphony Orchestra and University of Birmingham Singers revel in the ecstasy, majesty and glory of Stanford’s Requiem. 

William Christie directs with all his customary close involvement, and profound belief in the work in hand. 

Die Interpretation beeindruckte mit dramatischem Farbenspiel, Balance, Dynamik und Gespür für Wettkampf sowie einer großen Portion Augenzwinkern.

Conceived for television and first seen on BBC2 in May 1971, Owen Wingrave should lend itself to creative staging and the small screen. Does this new film convince? 

Das überaus farbenreich spielende Freiburger Barockorchester bot eine tief bewegende Aufführung von Händels Messiah.

Soirée d’exception à l’Auditorium de Lyon qui accueillait l’ensemble Les Arts Florissants et son chef William Christie, pour une œuvre phare du répertoire baroque : Le Messie de Haendel. 

Despite some fine young voices, a concert staging of The Rake's Progress proves problematic in Hamburg.

Barbara Hannigan mène à la baguette cette production de The Rake's Progress à la Philharmonie, où brillent aussi bien les chanteurs du projet Equilibrium que les instrumentistes de l'Orchestre Ludwig.

James Gaffigan and the BBC Symphony Orchestra and Chorus provide the climax to a worthy day of discovery at the Barbican.

Soirée-anniversaire des quarante ans de l’Orchestre de chambre de Paris, ce mercredi au Théâtre des Champs-Élysées. Une programmation curieuse... jusqu'à la joyeuse surprise conclusive.

Porté ici par un Gabrieli Consort en bonne forme, quoiqu’un peu contenu par la direction de Paul McCreesh, et des solistes tout à fait convaincants, King Arthur rappelle ici ses grandes qualités musicales

Beinahe war dieser King Arthur so rund und erhaben schön, dass die fünf Akte auch zu fünf Sternen geführt hätten.

The 2016 Proms come to a riotous close at the Royal Albert Hall.

Francesca Caccini’s La Liberazione di Ruggiero dall’Isola di Alcina, performed at the Medici court in Florence in 1625, is said to be the first opera composed by a female composer.

In the third concert presentation of Mussorgsky's Boris Godunov in London this season, the Philharmonia's semi-staged attempt, conducted by Jakub Hrůša, was admirable.