En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Concierto para clave núm. 1 en re menor, BWV1052

Jordi Savall y Le Concert des Nations ofrecieron uno de esos conciertos que se postulan como inolvidables debido al compromiso ofrecido con una interpretación idiomática de la música de Bach.

Trois ensembles et six clavecinistes ont proposé à Radio France une intégrale des concertos pour clavecin de Johann Sebastian Bach. Le projet a oscillé entre prises de risques décomplexées et miracle musical.

A rare Bach devotee among today's immensely talented crop of under-thirty pianists, Beatrice Rana interpreted both concertos with great incisiveness.

Two colourful, atmospheric and evocative pieces by Respighi contrasted with a Bach Piano Concerto with Eric Le Sage.

Ominous Bartók, polished Mozart and energetic Bach, all on a superb musical spring evening in Amsterdam.

An intriguing combination of three contemporary Baltic composers matched against Bach, delivered with consummate musicianship by Kremerata Baltica.

An enjoyable and vivid performance representing music spanning three centuries of history

This season, the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) is turning its eyes towards Bach, whilst at the same time programming the usual great symphonic repertoire, as well as contemporary composers. Here, Kazushi Ono gathered a Bach concerto (transcribed for violin), a rarely-performed work by Schumann and Richard Strauss’ Also sprach Zarathustra.

Das war Kammermusik at its best. Trotz und gerade wegen tückischer solistischer Besetzung höchstes Lob für treffenste Unterhaltung.

Laurence Cummings and the Orchestra of the Age of Enlightenment celebrate two anniversaries in a programmed of works by Johann Sebastian Bach and his sons. 

There cannot be many more spectacular views enjoyed during a concert interval than that from the terrace of the Salle des Combins, the main venue for the Verbier Festival.

Outdoor concerts are always prey to the vicissitudes of weather. The Festival of Early Music in Lativa is so well organized, unexpected light rain started just at the beginning of the interval and politely ceased before the second half of the programme. 

In an all-Bach programme at Zurich’s historic Tonhalle, Canadian pianist Angela Hewitt recently took over both keys and baton in concert with the Zurich Chamber Orchestra (ZKO). 

Giovanni Antonini conducts the Tonhalle Orchestra in an appealing programme of works by Beethoven, Bach and Vivaldi that marked the Zurich debut of the dynamic Israeli mandolinist Avi Avital.

The Canadian chamber orchestra Les Violons du Roy, using baroque bows on metal strings at modern pitch, came to Walt Disney Concert Hall, backing Alexandre Tharaud on a big beautiful Steinway.

Hélène Grimaud erweckte Mozart und Bach zum Leben; das Kammerorchester des Bayerischen Rundfunks verabschiedeten sich mit einem großen Spaß in Essen. 

Répertoire on ne peut plus convenu, petits paraphes obséquieux : difficile de se rendre au concert sans aprioris, dès lors qu'il est question d'aller écouter Hélène Grimaud. Mais le verdict tombe sans tarder : une lecture pleine de fraîcheur de la Symphonie n° 60 de Haydn, par l'Orchestre de Chambre de la Radio Bavaroise, éclipse les deux concertos, pour le moins décevants.

Lahav Shani springt kurzfristig für Welser-Möst ein und präsentiert Mahlers Erste detailreich mit den Wiener Philharmonikern.

As usual, the performances here were thoroughly committed, but repeated cases of uncertain intonation and rhythmic imprecision prevented them from reaching the heights the audience have experienced in earlier programmes.

Worlds apart from those interpretations where Bach's expressivity is left to speak for itself, tonight's approach provided a complementary carapace that navigated us through Bach's score in unexpected ways.

Oxford becomes much quieter outside of the university terms, and this was reflected in audience numbers for Saturday’s concert. Although the evening did not pan out as expected, those who were in the Sheldonian still came away having heard some brilliant performances.

How do you like your Baroque? Extreme – all gut strings and not a chin-rest in sight? Or mid-twentieth century – molto vibrato with saxophone obbligato? There is, of course, a half way house, and in last night’s packed Queen’s Hall in Edinburgh, the SCO steered firmly towards it, producing several agreeable surprises along the way.

Winter in the Swiss Alps: freezing temperatures and snow outside. A modest seventeenth-century church of elegant proportions, painted plasterwork and wood panelling. A dozen crack musicians, specialists in baroque music.