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Fleming's program, an outgrowth of her Grammy-winning album Voice of Nature: The Anthropocene, makes an urgent case for the preservation of the world's natural wonders.

An intermittently sparkling evening culminates in a thrilling explosion of art.

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

A blinder of a first half, but Aurora score an own-goal in the second with Anna Meredith's Anno. 

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

Osipova has completely shaken away any inhibitions of classical training to dance more freely than ever before.

In a world for which Neharo't Neharo't had suddenly become painfully relevant once again: the man lamenting his love in the gentle ending could have been lamenting the Kurds.

Natalia Osipova and David Hallberg's combined star power transcend this mixed bag of contemporary and classical dance.

The Aurora Orchestra and Collon engage audiences new and old with infectiously joyful Mozart and intensely virtuosic Adès, with Pekka Kuusisto.

Nico Mulhy's great gift as an orchestrator and his ability to construct colorful and suggestive textures are evident in Liar, presented by the Philadelphia Orchestra together with Schubert and Mendelssohn.

What the young dancers lack in finesse they make up in boisterousness. Sidorova's dance vocabulary seems endless. Kuindersma's Mesmer radiates into the theatre.

An adventurous and unusual end to Kings Place's Time Unwrapped series and some striking collaborations with Aurora Orchestra.

The cast, sets, costumes and direction of Muhly's opera Marnie impress, but the music somehow falls short of expectations.

A decent cast was unable to redeem a fundamentally dull opera that lacks the psycholgical complexity and tension of both the original Graham novel and its famous Hitchcock adaptation.

A remarkable evening of exceptionally fine pianism and inventive programming, featuring seven of the UK's leading pianists in rich and varied repertoire.

Ancient and modern Shakespeare settings, and music from Shakespeare's contemporaries given tender and passionate readings in a varied programme from Fretwork and Stile Antico.

A serious programme for a Valentine's day concert at Sydney Opera House.

A ravishing performance, with Shakespeare’s words delivered primarily through the prism of living composers.

Vancouver Opera's bold presentation of Nico Muhly's Dark Sisters is enjoyable but less audacious than its subject matter might suggest

Musical Director Yannick Nézet-Séguin inspired wonderful performances from the American players on the last leg of their European tour. 

Robert Dekkers' Post:Ballet presents High:5 , a full-evening program of innovative works, including Yours Is Mine, Sixes and Seven and Do Be. Reviewwed at Z Space, San Francisco 

Iarla Ó Lionáird presented the theme – the Celtic traditional song The Two Sisters – and Julia Wolfe and Nico Muhly provided variations via two separate compositions based on the folk song.

The intimate Vancouver Playhouse was nearly full to hear Iestyn Davies and Thomas Dunford. Consisting of lute songs by John Dowland and his contemporaries, in addition to the Canadian premiere of Nico Muhly’s Old Bones, it’s hard to imagine a more artistically satisfying and entertaining way to spend an afternoon.

It is hard to believe that Anne Sofie von Otter has been on the international scene for over 25 years, and after all this time, her voice is in remarkable shape. Coupled here with the equally esteemed Emanuel Ax, this intimate recital communicated a great depth of understanding in the music.

Violinist Pekka Kuusisto and composer Nico Muhly performed at (Le) Poisson Rouge, with music by Bach, Pärt, Glass, and Muhly.

Violinist Pekka Kuusisto and Britten Sinfonia succeeded in creating a dynamic and captivating programme at Milton Court, with a series of works conceived as a whole and leading up to Britten's Serenade.

Part of the White Light Festival at Lincoln Center, The Tallis Scholars gave a selection of music that ranged from John Taverner to Nico Muhly.

32-year-old Nico Muhly recently tweeted “I'm obsessed with people asking why I must write such ‘atonal music.

Sixteen minutes of mercilessly pummelling the piano keys, alternating shimmering, dissonant chords between right and left hands, as fast as humanly possible or maybe slightly faster. This fleet, beguiling whoosh of texture left the Kings Place audience in no doubt as to Bruce Brubaker’s technical prowess, nor his astonishingly delicate, sensitive touch at the keyboard.

The title for this Barbican event certainly threw up some interesting questions. Having failed to attend a riotous dinner party that was characterised by one attendee as “a scream and an outrage”, Nico Muhly set about curating a series of concerts under this title. However, no screams or outrages occurred this weekend.

Nico Muhly describes A Scream and an Outrage, the weekend of events he curated at the Barbican this weekend, as like a dinner party, “a gathering of friends and family new and old; loosely organised”.

Pleasantly enough, Britten Sinfonia went down a thoroughly unconventional route in celebrating their 20th birthday at the Barbican on Saturday, with a brilliantly varied range of new pieces mixing with chamber orchestra classics.

“It is impossible to find anyone in the world today who is young and not ill,” muses André Breton in Chiaki Kawamata’s novel Death Sentences. “Youth itself is a kind of disease.” There is in youth something that exerts a powerful hold on the imagination. Its freshness, its arrogance, its promise – all of these building a magnetic aura that exerts a powerful hold on our consciousness.

Seeing both these ensembles live has been a dream of mine for a few years now, having been brought up with my father’s love of the Hilliard Ensemble’s collaborative recordings with jazz saxophonist Jan Gabarek. And what better place to be transported back in time with these early music experts than the Wigmore Hall.

Despite knowing what was going to happen, it was a still surprising when, amid the chatter and bustle of the audience before the concert (there was a distinct lack of communal coughing before it started), the National Youth Orchestra of Great Britain began Tuning Up.

The plight of women trapped in plural marriage—one husband with multiple wives—glowed like a firebrand on the Perelman Theater stage on Sunday. Opera Company of Philadelphia’s Dark Sisters, in co-production with Gotham Chamber Opera and the Music-Theatre Group, is OCP’s final offering of the 2011-12 season.

The concert was divided into two clear parts; the first included string quartet pieces by Bryce Dessner, Nico Muhly and Sufjan Stevens, and the other half consisted of Planetarium, a multi-dimensional song-cycle for string quartet, trombones, piano, celesta, synthesizer, drums, drum machine, guitar and voice.

To call last night’s Nico Muhly extravaganza at the Barbican a concert of two halves would not go far enough. It was more like two concerts, with a surprisingly short gap between them. The first was made up of three new classical works played by the Britten Sinfonia, and the second was a set of arty folk numbers and other chamber miniatures by Muhly and others.

It was hard to believe, listening to this evening’s Late Mix concert at the Sage, that three out of the four pieces played had in fact been substituted at the last minute after a soloist’s sudden illness meant that the original programme couldn’t be performed. Especially as all three pieces retained the spirit of adventure and exploration in which the Late Mix series specialises.

The barely legal lives of women in polygamous marriages may seem like fertile ground for an opera. Dark Sisters, composed by Nico Muhly with a libretto by Stephen Karam, has many attractive moments in music and story, yet demonstrates the difficulties of drawing art from life.

It's about time someone wrote an opera about the internet. And who better than Nico Muhly - snarky blogger, snappy Tweeter, and according to the Daily Telegraph "the hottest young composer around"? Add seasoned playwright Craig Lucas, top Broadway director Bartlett Sher and some of Britain's finest singers, and you might expect them to cook up a success.

The Tallis Scholars begeistern einmal mehr mit einem abwechslungsreichen und doch stimmigen Programm von Josquin des Prezs bis Nico Muhly.

Une célébration de la danse néo-classique techniquement bien exécutée, dont on aurait aimé une interprétation plus vibrante.

La direction explosive de Yannick Nézet-Séguin et la délicatesse pianistique d’Emanuel Ax dans Muhly, Beethoven et Rachmaninov

Stefano Montanari joue et dirige Haendel, D’Alai et Muhly à l’Opéra de Lyon.