Find classical music concert, opera, ballet and dance reviews | Scarlatti

Few other pianists have Argerich’s naturalness, her ability to epitomize the essence of music rather than interpret it. 

Maurice Steger brought this essential but under-represented instrument from Renaissance and Baroque chamber and ensumble music to a mainstream concert hall. 

A recital programme that at first looked a little random was more than justified in performance

A recital of incomparable but unrelated works became a lengthy attempt to adapt tempi.

Franziska Gottwald's superb mezzo voice and technique combined with dedicated commitment to text makes for a satisfying concert at Rosdorf near Göttingen during the Handel festival

Contemporary Dance comes to The Lowry with a triple bill: An Italian in Madrid, Tangent, and Chacony. From Naples to Madrid; South America to Britain, a diverse, musical programme.

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

A Liszt tone poem, a Prokofiev piano concerto, and a Dvořák symphony made for a high-octane CSO program with conductor Emmanuel Krivine and pianist Denis Kozhukhin.

BRB delivers in a production of jolly moods, bawdy humour and great emotions.

A vast world of movement rose in celebration of the body’s athleticism and its subtle connection to emotions and personality. 

The latest bill from the Richard Alston Dance Company shows its leader as a consummate teacher: studied, scholarly, thoughtful.

Angela Hewitt: formidable de Falla and sensual Albéniz made up for overwrought Scarlatti at the Royal Northern College of Music.   

Kozhukhin stamped his authority and musicality on this lunchtime recital from the opening notes of the Haydn Sonata to the final fleeting phrase of his second encore.

Core repertoire from across nearly two centuries formed the basis of a recital programme that forged a link from Bach to Ravel.

Gergiev and the LSO in an explosive, primeval Rite of Spring.

If we consider Domenico Scarlatti an honorary Spaniard, since half of his life was spent there, then this was an entirely Spanish programme. 

Angela Hewitt's Spanish Lanscapes offered perfect summer fare delivered with flawless execution.

Antonii Baryshevskyi, winner of the Arthur Rubenstein Compeition, made an impressive Wigmore Hall debut in a performance which combined pristine technical facility and consummate musicality in a challenging and highly varied programme.

Soon to retire principal ballerinas, Julie Kent and Xiomara Reyes, delivered poignant performances in Alexei Ratmansky's Seven Sonatas along with poetic dancing by Joseph Gorak. Other standouts included solist Devon Teuscher in the Raymonda Divertissements and James Whiteside in Fancy Free.

Laurence Cummings and Royal Northern Sinfonia present Bach's musical world in miniature in a programme of chamber music by Bach and his contemporaries.

In Montreal Richard Turp discovers a modern-day Pied Piper of Hamelin, Maurice Steger in music of 18th century Naples accompanied by Les Violons du Roy 

It has been five years since mezzo Joyce DiDonato last sang in Amsterdam. In those five years, she won an Emmy Award, headed the cast of countless productions at the Met and Covent Garden, and has been recognized as one of the greatest opera singers of our time by the press and aficionados alike.

It is rare to be at a concert where one is utterly captivated from the first note until the very last has faded to silence, but such was the effect of Russian pianist Yevgeny Sudbin on a packed Wigmore Hall at his lunchtime recital of works by Scarlatti, Chopin, Liszt, Scriabin and Saint-Saëns.

When on Sunday afternoon Joyce DiDonato came onstage at Carnegie Hall, the savvy New York audience gave her a truly royal reception by welcoming her with a long ovation. Such a reaction from the audience was hardly surprising.

The stage was set at (Le) Poisson Rouge: a royal blue curtain and a brilliant red light contrasted nicely with the shine of the black and white piano. Simple yet bold, the stage was akin to a Mondrian painting. And as Scarlatti’s notes rolled off Alexandre Tharaud’s fingers, this striking visual matched the crisp performance perfectly.

The American Ballet Theatre return to the stage of Sadler’s Wells this week with two mixed programmes of 20th and 21st century ballet. The first programme, of four one act pieces, explores the relationship between music and dance, beginning and ending with a UK premiere.Seven Sonatas choreographed by Alexei Ratmansky, ABT’s artist in residence and former Bolshoi director, opens the programme.

Qui a dit qu'il fallait avoir une vie derrière soi pour oser jouer les dernières sonates de Beethoven ? Des « idiots bêtes » comme disent les petits enfants. 

L’un de ces concerts où qualité musicale, expressivité, spatialité intelligente et sens aigu du texte s’intriquent à la perfection

Martha Argerich, Emmanuel Krivine et l'Orchestre national s'en donnent à coeur joie dans le Concerto en sol de Ravel avant que le chef s'embarque avec Sindbad le marin pour les mille et une nuits de Shéhérazade.

Rameau, Bach et Scarlatti sous la sphère lumineuse de la Chapelle Corneille.

Le Ballet de l’Opéra de Paris présente une nouvelle soirée néoclassique qui met à l’honneur trois générations de chorégraphes : Georges Balanchine, Jerome Robbins et les chorégraphes contemporains Alexeï Ratmansky et Justin Peck.

Le premier des jeunes talents présents aux Sommets musicaux 2016 crée L’Étude jazz de Thierry Escaich et séduit la Chapelle de Gstaad. 

Le chemin enneigé, bordé de bougies, monte à la vieille Église de Saanen de 1604. Sous son toit, le vieux bois de la balustrade, d’une chaude couleur miel, travaille, grince, gémit : l’atmosphère des concerts hivernaux à Gstaad est unique.

Christian Zacharias à Genève a offert un piano subtile et fin mais qui aura manqué un brin d’âme et de noirceur… Dommage pour le romantique Chopin !

Enorme demostración de capacidades de los hermanos Zapico en un programa a medio camino entre la magia improvisatoria y la pureza rítmica

La Tempestad, en su visita al Auditorio Nacional, deleita con un amplio y variado repertorio, interpretando con gran destreza música virtuosística de la España e Italia dieciochescas.

Lundi 14 juillet, l’ensemble Pulcinella d'Ophélie Gaillard partageait la scène de l’Opéra Comédie de Montpellier avec la Maîtrise de Radio France dirigée par Sofi Jeannin, dans un programme Scarlatti / Porpora. Un concert assez plaisant, fondé sur un répertoire somptueux.