En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Jesu, meine Freude - motet, BWV227

Taking two generations of the Bach family, Solomon’s Knot reinvigorate their motets with vision and excellent execution. 

Mit dem Münchner Ensemble Vokalzirkel und dem in London ansässigen Barbican Quartet präsentierte das Davos Festival zwei vielversprechende Formationen. Die Kombination war indes mehr ein Nebeneinander als ein Miteinander. 

Was für eine Freude, diesen begeisterten und begeisternden Stimmen zu lauschen – eine Auffahrt in den Musikhimmel für Hengelbrocks Chor und Orchester!

Currentzis Überpräzisierung lässt beim Brahms-Requiem die Leidenschaft vermissen.

Lars Vogt and Royal Northern Sinfonia deliver Beethoven's Symphony no. 9 with swaggering self-confidence, and heroic chorus singing.

Vox Luminis kept it in the family as they performed lesser-known motets by Johann Sebastian Bach's ancestors.

The Sixteen, augmented by alumni of Genesis Sixteen, proved to be the perfect instrument for Pärt, but lacked personality in Bach.

Un concert émouvant que se conclude dans une rare allégresse, teintée de spiritualité et d’intensité.

Segerstam elicits oustanding playing from the BBCSO in an immense Bruckner 8, preceded by the BBC Singers exquisite Bruckner motets.

A disappointing performance of motets by Bach and Bruckner is rescued by an imaginative and evocative new work by John Casken, performed by Chorus of Royal Northern Sinfonia and flautist Juliette Bausor.

December in London doesn’t just mean wall-to-wall carol singing and the Messiah. It also means Spitalfields Music Winter Festival, which can be relied upon to programme something novel for the festive season while still not skimping on the mince pies.

I've never really hit it off with Poulenc's Quatre motets pour un temps de pénitence (1938-9). This has been both a disappointment and a surprise as I am a fan not only of choral music, but also of Poulenc.

Bach, Biber, St. John's Smith Square. Clever juxtapositions, and they worked. The programmer of this concert - by the Monteverdi Choir and English Baroque Solists under Sir John Eliot Gardiner - had a neat thought, to place Bach's six Motets (BWV 225-230) into the former church in SW1. The building and the motets date from the same decade, the 1720's.