Commedia dell'arte and zany surrealism: RCS opera school pulls off a highly amusing double bill of Gianni Schicchi and Les Mamelles de Tirésias with style.
The classical masterpieces of Haydn and Schubert miss the spot, but Ligeti and Poulenc enthral in the splendid setting of the Concert Room, St George’s Hall, Liverpool.
The Swedish clarinetist's recital in Alice Tully Hall, part of the Great Performers at Lincoln Center series, was as thrilling and rewarding as any before.
RSNO’s sparkling Prokofiev, heroic Tchaikovsky and lush Poulenc which celebrated 175 years of the RSNO Chorus was eclipsed by 80 Glasgow schoolboys who sang their hearts out with three songs from All Those Men Who Marched Away.
Jory Vinikour was the soloist for Poulenc’s rarely heard Concert champêtre. A performance of Rachmaninov's Symphony no. 2, in which thrilling excess ruled, completed the program.
A shimmering account of Debussy's Jeux was followed by a delectable reading of Poulenc's Concerto for two pianos. Conductor Ward delivered a convincing performance of Prokofiev's Fifth Symphony.
Edgar Moreau and David Kadouch make the case for ressurecting the work of Rita Strohl, thrilling in transformation of Racine's Bérénice into Cello Sonata form.
Dame Sarah Connolly and Julius Drake savour the al fresco surrounds of the Villa Foce to produce a delightful evening of eclectic music in four languages. Delizioso!
Milhaud reported “a spirit of carefree gaiety reigned” in 1920s Paris, a spirit Marcela Roggeri and François Chaplin's varied programme aimed to evoke.
Notwithstanding Esfahani and McKeish’s sterling account of the Poulenc and the orchestra’s thrilling take on The Sorcerer’s Apprentice, this was not a consistent enough concert to be called a complete success.
Poulenc's one-act, one-side-of-a-phone-conversation opera provides a perfect vehicle for Anne-Sophie Duprels to demonstrate her talents as a singing actor.
Antonacci's voice shines even in the art songs that pad out the evening, but it's Poulenc's one-act opera that gives San Francisco Opera Lab's current offering dramatic weight (and makes it worth seeing).
Wheeldon’s vocabulary, Ratmansky’s Lyricism, Pastor’s roaring engine and Dawson’s mesmerising planetary roaming little prince Edo Wijnen, make for a happy afternoon.
Britten’s Ceremony of Carols with pieces by Tavener, MacMillan and Lauridsen contrast with Byrd and Dowland in a thoughtful and moving performance of Christmas musical icons from the Scottish Chamber Orchestra Chorus.
Since its formation four years ago, the young ensemble Quatuor Van Kuijk has been bagging numerous competition prizes and accumulating international acclaim.
French-Canadian pianist Louis Lortie brought Italy to London in a lunchtime recital which perfectly captured the vivid sights, sounds and colours of Naples and Venice.
A lush programme of Fauré, Stravinsky, and Poulenc is let down by Minkowski's erratic conducting, but is partially redeemed by two of France's fastest rising singers.
Suave baritone Stéphane Degout was mood – and word – perfect in the brooding melancholy of Debussy. In perfect collusion with pianist Alain Planès, he was even better in droll fables by Poulenc and Ravel.
Paris in the springtime: cold winds, driving rain and even a flurry of snow. Tonight, courtesy of Debussy’s Printemps, something a little more seasonal raised the temperature.
A dream matchup of Janine Jansen with Alexander Gavrylyuk spoiled the audience at the Concertgebouw in this must-hear collaboration. Tonight’s programme included sonatas from Brahms, Prokofiev, Poulenc and a sublime rendition of Szymanowski’s Trois Mythes.
Prokofiev’s much-loved Peter and the Wolf and Poulenc’s Babar, the Little Elephant made for a jolly children’s programme at the Tonhalle, even despite a major mishap.
Dutch National Opera performs Poulenc’s first opera, Les mamelles de Tirésias, as a project of the company’s talent development program... a fun occasion to witness the much lighter “voyou” side of the French composer.
After showing in 13 theatres around the world, Robert Carsen’s Dialogues des carmélites returns again to Amsterdam, where it was premiered in 1997. Almost 20 years on, its finale remains a shattering theatrical experience.
