En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Des Knaben Wunderhorn

Gustavo Dudamel and the Los Angeles Philharmonic open their “Mahler Grooves” festival, featuring Simon Keenlyside and Ekaterina Gubanova in Des Knaben Wunderhorn. 

Haitinks Karriere umfasst 65 Jahre. Kurz vor seinem 90. Geburtstag zeigte er mit Werken von Mozart und Mahler, dass er noch immer als Meisterdirigent und -interpret gilt.

Retour sur un concert aux forts échos politiques contemporains et conçu comme une manifeste pour la paix.

Un événement rare : Christiane Karg accompagnée par Mahler lui-même grâce à un enregistrement Welte-Mignon, et une Quatrième Symphonie de Mahler de haut vol.

Close to the start of this summer’s Lucerne Festival, Bernard Haitink conducted an outstanding performance of Mozart and Mahler works that span the centuries.

Paired with some overly serious Mahler, Eivind Buene's melodrama Blue Mountain did not quite convince, its ironic self-awareness getting in the way of itself.

A beautiful and thought-provoking association of Lieder and cinema, which nonetheless remains difficult to decipher. 

A decadent romantic programme of Wagner and Mahler, where Nathalie Stutzmann delivered a scintillating performance particularly in Wagner's Prelude.

In songs from Des Knaben Wunderhorn, baritone Matthias Goerne and the Royal Concertgebouw Orchestra were a match made in Mahlerian heaven.

Big moments, largely conceived, but somewhat lacking in overall unity.

German baritone Matthias Goerne recently gave a stunning performance of Gustav Mahelr's Des Knaben Wunderhorn songs in Lucerne.

John Storgårds conducts Nielsen's sixth and third symphonies in Manchester's Bridgewater Hall. John Storgårds, who also curated a similar project of Sibelius symphonies this time last year, should be very proud of these short immersive bursts of creative energy.

John Storgårds conducts the BBC Philharmonic in Carl Nielsen's First and Fourth (Inextinguishable) Symphonies with Roderick Williams singing Mahler's Wunderhorn songs in Manchester.

Mariss Jansons' festive, but poignant, farewell concert with the Royal Concergebouw Orchestra. Thomas Hampson contrasted folksongs by Mahler with Berio and Copland. Afterwards, while Jansons conducted Bartók’s Concerto for Orchestra.

The Philhamonia Orchestra on fine form, with characterful Mahler from Markus Werba, and assured dynamic control, enthusiasm and energy from Karl-Heinz Steffens.

Christian Gerhaher and Gerold Huber make of an evening devoted to the songs of Maher an experience hard to do justice to in words.

Dallas Symphony Orchestra, led by Jaap van Zweden and featuring baritone Matthias Goerne, performed music by Britten, Mahler, and Brahms, in a concert where not enough was ultimately said, despite a strong return from Goerne.

At the end of a successful week in which the orchestra’s recording of The Apostles won BBC Music Magazine’s Disc of the Year award, Sir Mark Elder conducted the Hallé in a joyfully youthful account of Mahler’s Des Knaben Wunderhorn, followed by graphic Janáček and Hadyn.The concert programme was interesting on several fronts.

Why would the London Symphony Orchestra pair Mozart’s Symphony no. 41 in C major, “Jupiter” and Mahler’s songs from Des Knaben Wunderhorn? There seemed to be no direct link between them other than that both demonstrate their composers’ fondness for mystery.

Thomas Adès' music has a rawness that only comes across heard live. This seems particularly true when he conducts it himself. Gone are the smooth contours of recordings and other conductors, replaced by a focus on infectious rhythm and sometimes brutal colours. His lyrical tendencies therefore become all the more powerful.Tevot is the perfect example.

The songs of Des Knaben Wunderhorn ("The Youth’s Magic Horn") form the basis for so much of Mahler’s music that it pays to hear some of them alongside a symphony (in the case the well-known Fifth Symphony, in the latest of the Philharmonia/Maazel collaborations). The performances of six of the songs by Sarah Connolly and Matthias Goerne gave a clear idea of the emotional power that they contain.

Since emerging from the Guildhall School of Music in the early 1990s, Roderick Williams has enjoyed a steady and critically acclaimed career.