En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | La clemenza di Tito, K621: obertura

La Orquesta Sinfónica del Principado de Asturias visitó el Palacio de la Ópera en La Coruña para interpretar un clásico programa con el pianista Kit Armstrong y el director David Reiland.

Primer concierto de la Orquesta Sinfónica Nacional de Colombia tras muchos meses de silencio con Adrián Chamorro en la dirección y el solista Leonida Cáceres.

Dame Imogen Cooper’s valedictory concerto performance was affectionately received by a near capacity audience at The Glasshouse.

The Israeli clarinetist captivated in Mozart's Cello Concerto and a Sergei Abir premiere under the baton of UK-born conductor Jason Lai. 

DiDonato shines as Yannick Nézet-Séguin leads his OM in the final concert of its US tour, ending with blockbuster Bruckner. 

The Canadian-born Frenchman is known for his boldness in programming, often presenting both the timely and the timeless in a single offering.

During Jessie Montgomery's Records from a Vanishing City, musical styles from avant-garde jazz to Angolan lullabies quarreled and overlapped, keeping our ears pricked for the duration of the piece.

Mit Kompositionen aus dem Jahr 1791 erfasste Marc Minkowski mit den Musciens du Louvre und dem Cor Cambra Palau das Wesen von Mozarts musikalischem Testament.

The first of two concerts given by the Britten Sinfonia at the Barbican Hall, with Barbara Hannigan as both singer and conductor.

Antony Hermus mène avec entrain l’Orchestre de l’Opéra de Rouen en Écosse depuis Rome.

Who could ask for anything more – Ignat Solzhenitsyn joined the Toronto Symphony Orchestra for a concert of Mozart, featuring the 39th Symphony and the 18th Piano Concerto, which Solzhenitsyn conducted from the keyboard.

A brand new orchestra took to the stage on Sunday night to introduce themselves. The Enigma Orchestra, co-founded this year by Robert Weaver and Arian Aghababaie, is made up of high-standard amateur instrumentalists from in and around Bristol. The orchestral team had coordinated all the visual aspects of the concert with a theme of white, red and black.

In their latest set of concerts, the Mostly Mozart Festival on Tuesday presented two works: one largely unknown, the other among the most beloved in the standard repertoire. The first, Luciano Berio’s 1989 Rendering, is fragmented and open-ended. The second, Beethoven’s Piano Concerto no. 5, “Emperor”, about as solid and decisive as they come.

This year’s Mostly Mozart Festival at Lincoln Center opened on Tuesday evening and, to put it encouragingly, there will certainly be room for improvement as the festival continues. (The present review relates to Wednesday’s performance of the same works.

In recent years the German tenor Klaus Florian Vogt has gained fame for his lyrical portrayals of Wagnerian characters like Lohengrin, Parsifal, and Walther von Stolzing in Die Meisteresinger von Nürnberg.

Part of the King’s Place Mozart Unwrapped series, the Aurora Orchestra delivered a spellbinding performance Thursday night.Due to Sir Colin Davis’ sudden illness, principal conductor Nicholas Collon stepped in at the last minute to conduct the concert. While it would have been a unique opportunity to see such an esteemed British conductor, Nicholas Collon was an exciting substitution.