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One of the Lammermuir Festival's miniature miracles: Véronique Gens and Joseph Middleton present an evening of French chansons in the East Lothian countryside. 

Baritone Benjamin Appl and accordionist Martynas Levickis tour Europe and the USA in songs and solos demonstrating both the richness and simplicity of 19th- and 20th-century music. 

The Swedish mezzo accepts her award from the Birgit Nilsson foundation with an impressive prizewinner’s recital.

Here was singing and playing to live long in the memory.

Mary Bevan’s bewitching soprano is the star of a glorious programme of music by Ravel and his contemporaries.

Chloë Hanslip and Danny Driver were in tune with each other in every way in this fascinating and entertaining programme inspired by Marcel Proust.

Trottmann used profile, posture and facial expression to bring each song to life. 

The opening of the Duparc rippled diaphanously in Martineau's hands as the seductive but pure silver of Karg's voice.

We anticipated a Ukrainian barihunk singing Tchaikovsky, but ended up with an English rose singing Strauss.

Soprano Elizabeth Watts brought tonal richness and energy to an evening of French song with texts by Théophile Gautier, but her expressive arsenal was diminished by a bout of flu.

Joyce DiDonato enchants the public of the Amsterdam Concertgebouw with a program of art songs and arias inspired by Venice.

Joseph Middleton and Carolyn Sampson were perfectly matched in Fleurs, the final concert of Leeds Lieder's Day of Song at The Venue in Leeds.

Part of Lincoln Center’s Great Performers series, Matthew Polenzani's programme impressed. Beginning with Beethoven, he made his way from German to French by way of Liszt, then carried on with Satie and Ravel, and finally wound down the concert with a set of Samuel Barber songs and some lovely encores.

Though Joyce DiDonato is an incredibly versatile artist, her performance at Carnegie Hall on Tuesday evening reaffirmed that she is, above all, one of the leading interpreters of Rossini today. 

Ailyn Pérez and Stephen Costello open San Diego Opera's season in a generous duo recital.

If you sing like an angel, might as well look like one. Philippe Jaroussky, considered one of the world’s finest countertenors, came onto the stage in Hohenems, Austria last Saturday evening with the demeanor of a celestial being...

In keeping with the theme of Tuesday’s (Le) Poisson Rouge concert entitled “Do Something Different”, I will diverge from the ordinary by opening with the evening’s closing remark: “This is opera in New York City today!”Opera Singers Initiative founder Anna Lee excitedly delivered this terse eight-word proclamation on the venue’s dimly-lit stage, where she was joined by vocalists from Opera Singers

One would think that either Renée Fleming or Susan Graham alone would be reason enough to sell out a large venue such as Disney Hall. But everything is bigger in Hollywood, and the LA Phil brought both artists together for a one-night recital of French art song. But even that wasn’t enough.

Drawing names such as Sarah Connolly and Dame Felicity Lott to the dreaming spires, the Oxford Lieder Festival has defined itself as a leading musical exponent on an international level. It was fitting, then, that Alice Coote and Julius Drake should open the final weekend of the eleventh festival.

Venexia, Venise, Venedig: city of singing gondoliers, loved-up couples and pigeons. That was the picture painted last night at the sold-out recital by Joyce DiDonato and her accompanist David Zobel at the Wigmore Hall.

This Easter, New Yorkers had a rare chance to hear soprano Anna Caterina Antonacci in Alice Tully Hall. It was only Antonacci’s second appearance in the city, but based on the warm welcome she received from the audience, her reputation preceded her. And by the end of this outstanding recital, it was clear that the city has been missing out on her artistry.

On February 15th, Kennedy Center for Performing Arts in Washington DC proudly hosted a recital of the internationally acclaimed mezzo soprano Joyce DiDonato and famous pianist David Zobel. Part of this season’s Star Series, the recital presented by Washington Performing Arts Society, was given in honor of Vocal Arts 20th Anniversary.

Bei Appls Liedersammlung „Forbidden Fruits“ zeigte der neue Konzertsaal im Münchner Kulturkraftwerk Bergson fabelhafte Eignung für die Kammermusik.

Le duo a immergé le public dans un salon de la Belle Époque, faisant preuve d'un art remarquable de la diction, des couleurs et des atmosphères.

Le duo complice a proposé un programme à deux faces, l'une germanique, l'autre française, avec de très beaux moments (Haydn, Mozart, Hahn) sans toutefois convaincre dans tous les répertoires.

Le programme « Proust, mots et musique » s'est avéré un bien curieux mélange, qui a malheureusement laissé la musique en général et le violoncelliste Steven Isserlis en particulier sur la touche.

En compagnie d'invités de qualité (Lorraine Campet, Astrig Siranossian, Guillaume Chilemme), le jeune pianiste montre qu’il est une personnalité singulière et qu’il a les moyens techniques et artistiques de son originalité.

Emeline Bayart signe une mise en scène astucieuse et incarne à merveille son personnage mais le texte de Sacha Guitry paraît désormais faiblard, comme la musique de Reynaldo Hahn.

Dans le cadre des Nuits du Piano, le musicien russe tisse des liens inattendus entre des œuvres qu'il parvient à entourer d'une magie sonore singulière.

Fragiles et assez peu inspirés dans la mélodie française, Mark Padmore et Simon Lepper se révèlent pleinement dans le répertoire anglais et américain.

Marlis Petersen et Stephan Matthias Lademann ont offert au public de Bozar une passionnante expérience imaginaire et poétique, à travers un répertoire fin de siècle très émouvant.

Indisposée, Véronique Gens a eu bien du mal à venir à bout de ce programme de mélodies. La cohésion du duo qu'elle forme avec Susan Manoff lui a toutefois permis de livrer des interprétations d'une grande sensibilité.

Une musique faussement simple, des mélodies ciselées avec une élégance et un raffinement extrêmes, une mise en scène "aux p’tits oignons", des interprètes formidables pour l'opérette de Reynaldo Hahn.

C’est avec un silence fébrile et une concentration palpable que le public du Théâtre des Champs-Élysées a accompagné ce récital consacré à Verlaine.

Duparc disait que « la vraie musique, la seule, est la musique d'âme et d'émotion ». Il aurait trouvé avec Marie-Nicole Lemieux accompagnée par Roger Vignoles dans un programme de mélodies françaises, une parfaite illustration de son propos.