Live, Video: Find classical music concert, opera, ballet and dance reviews | Matthias Goerne

An eclectic America250 program traces multiple strands of American musical identity, with Bernstein's Chichester Psalms and the Mendelssohn Choir making the strongest impression.

Late step-in Nicole Chevalier, baritone-turned-director Matthias Goerne and conductor Frank Beermann combine their talents to create a landmark production at the Capitole de Toulouse.

Matthias Goerne and Daniil Trifonov take their Toronto audience on a Schubertian journey to remember at Koerner Hall. 

A journey through the emotional landscapes of Schubert’s Winterreise at the Muziekgebouw is brought vividly to life by Mattias Goerne and David Fray. 

As Teodor Currentzis' time in charge of the SWR Symphony Orchestra draws to a close, he bids farewell in a series of nationwide performances of Britten's memorial to the pity of war.

A program of Schumann and Brahms fails to cohere due to fussy mannerisms and tentative playing. 

Britten’s Violin Concerto could easily qualify as a Mount Everest for violinists, but Augustin Hadelich scaled it with deceptive ease.

Sir Antonio Pappano molds a dramatic yet intimate performance of Britten's great choral work, powerful and moving.

Composer Massimiliano Matesic wows the Tonhalle audience with his orchestral arrangement of Schubert’s great song cycle.

Almost every June from 1989 to 1999, I visited the charming town of Feldkirch, in the Vorarlberg region of Western Austria, for the annual Schubertiade, originally founded in 1976 by the great German baritone Hermann Prey.

Britten's War Requiem at the Staatsoper Unter den Linden with Antonio Pappano conducting

Ater seven years at the helm and a controversial early departure, Thomas Hengelbrock gives his final concerts as principal conductor of the oldest German radio orchestra.

Celebrating the 150th anniversary of its first performance, Paavo Järvi directs the Deutsche Kammerphilharmonie Bremen in Brahms' Requiem, with the Latvian State Choir and two outstanding soloists.

Despite some fascinating, impressive and often beautiful moments, the consistent refusal to give the audience time to applaud, pause and digest what they had just heard turned the evening into a wash of death songs.

Robert Hayward was unafraid to 'go ugly' when need be in Jurowski's symphonically executed concert performance. 

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

A religious-themed program made for a particularly moving Easter weekend concert from Dutoit and the CSO, highlighted by the serenity of Fauré’s Requiem.

Sir David McVicar's production of Tristan und Isolde premiered at the Wiener Staatsoper in 2013, and was then recognized as a friendly platform for singers. Here it is freshly revived with a new cast.

Joining Music Director Jaap van Zweden were some familiar faces who had appeared in Das Rheingold and Die Walküre in the same or different roles, and new faces appearing for the first time.

The Doors of Perception swung wide at Symphony Hall as Charles Dutoit led the Boston Symphony in an unusual and engrossing pairing of Mozart’s boisterous, Haydenesque Symphony no. 39 in E flat, K543, and Bartók’s one-act opera, Duke Bluebeard’s Castle,

An intensely musical and thought-provoking Beethoven recital at Wigmore Hall from Matthias Goerne and Kristian Bezuidenhout.

Baritone Matthias Goerne and pianist Daniil Trifonov combined their talents to explore the darker side of human existence in an intense, uninterrupted 90-minute recital.

In songs from Des Knaben Wunderhorn, baritone Matthias Goerne and the Royal Concertgebouw Orchestra were a match made in Mahlerian heaven.

The latest concert by the Spanish National Orchestra was a fascinating opportunity to explore the contrast between Wagner and Stravinsky.

German baritone Matthias Goerne recently gave a stunning performance of Gustav Mahelr's Des Knaben Wunderhorn songs in Lucerne.

Boston Symphony Orchestra Music Director Andris Nelsons experienced his first time leading the Tanglewood Music Center Orchestra – and hundreds of other performers – in Mahler’s Symphony no. 8.

A memorable Winterreise at the Chigiana International Festival, Siena. 

Earnest singing and dramatic insight made Das Rheingold with the Hong Kong Philharmonic a remarkable evening. 

Pianist Markus Hinterhäuser’s brilliantly curated Winterreise juxtaposes the devastating interpretative powers of baritone Matthias Goerne with captivating animated images by William Kentridge.

Despite Richard Strauss' few connections with Leipzig, the Gewandhaus Orchestra under Riccardo Chailly offered a vivdly characterized tribute to the composer on his 150th anniversary, from an affectionate Don Quixote to a witty - and furiously paced - Till Eulenspiegel. 

Risks bring rewards as Matthias Goerne and Christoph Eschenbach present Die schöne Müllerin at Carnegie Hall.

Dallas Symphony Orchestra, led by Jaap van Zweden and featuring baritone Matthias Goerne, performed music by Britten, Mahler, and Brahms, in a concert where not enough was ultimately said, despite a strong return from Goerne.

Composed for the consecration of the new Coventry Cathedral in 1962, Benjamin Britten’s War Requiem is a monumental setting of the words of the Latin Mass, interspersed with the poignant poetry of Wilfred Owen.

The first of three recitals celebrating the German baritone Matthias Goerne took place at Wigmore Hall this past Wednesday. Goerne is a favorite of the Hall, having received the Wigmore Hall medal in 2011.

A night drawn mostly from a gentler range of sounds, some more familiar, some stranger. Esa-Pekka Salonen and the Philharmonia Orchestra London brought classics from Debussy and Ravel to the Philharmonie in Berlin, and paired them with two works by Lutosławski: the intricate and incredible Third Symphony, and Les espaces du sommeil, something between a monodrama and a song accompanied by orchestra

It is an extraordinary feat to take on Schubert’s Winterreise, Die Schöne Müllerin and Schwanengesang in three concerts over only five days, and performing them in Vienna’s Musikverein certainly does nothing to relieve the pressure.

In An Attitude to French Culture the Polish composer Witold Lutosławski remarked “I am aware that of the two traditions that initiated 20th-century music, that is, Schoenberg and Debussy, it is the latter that I feel prevails in my own compositional work”.

Size mattered in this programme, whether in the form of piano originals filled out to orchestral proportions, or Romantic reach reined in by Classical sensibility. The evening’s opening gesture was down to one man, Ian White, whose muted trombone ushered in Webern’s orchestration of the Ricercar from Bach’s 1747 Musical Offering.

Disney Hall’s week-long tribute to the music of Franz Schubert came to a grand close last Friday. Or should that be “Great?” As in Schubert’s hour-long Symphony no. 9, also known as the “Great.” And great it certainly is: not merely in the symphony’s musical material, which is some of the finest ever crafted by this composer. But also great in its proportions.

Late in life, the conductor Bruno Walter would often recall the moment Gustav Mahler first showed him the manuscript to the as yet unperformed Das Lied von der Erde. The work, with its poignancy and profound world-weariness, seemed even to take its composer aback. “But don’t you think it’ll make people want to do away with themselves?,” he said of the work.

It is one of those strange – but ultimately fortuitous – ironies of history that a set of poems intended to be a satire of the gloomy, luckless romances that burst forth from Europe in the wake of Goethe’s Sorrows of Young Werther should itself become the heartbroken romance par excellence.

Benjamin Britten’s War Requiem is a monumental piece of music: literally, architecturally and aesthetically. It is a literal monument because of its creation for Coventry Cathedral, that architectural testament to the creative and destructive powers of man.

The Dallas Symphony Orchestra opened their latest series on Thursday with works by John Luther Adams, Schubert, Richard Strauss, and Shostakovich. The German baritone Matthias Goerne joined the DSO and Artistic Director Jaap van Zweden for a performance that was moving and powerful enough to far outshine a couple of puzzling managerial decisions.

The songs of Des Knaben Wunderhorn ("The Youth’s Magic Horn") form the basis for so much of Mahler’s music that it pays to hear some of them alongside a symphony (in the case the well-known Fifth Symphony, in the latest of the Philharmonia/Maazel collaborations). The performances of six of the songs by Sarah Connolly and Matthias Goerne gave a clear idea of the emotional power that they contain.

Matthias Goerne y Alexander Schmalcz dieron forma y unidad emocional al conjunto de canciones de Franz Schubert que llevan por título Schwanengesang de manera brillante.

L'œuvre de Bartók bénéficie de la direction éloquente du chef finlandais, dans une grande salle Pierre Boulez idéale pour cette partition.

Dans le cadre du festival « Coups de cœur de Chantilly », le quatuor français était l'invité d'honneur d'un beau diptyque de concerts, avec le Quatuor Elmire, Laurène Durantel, Iddo Bar-Shaï et Matthias Goerne.

Au milieu du déluge qui s'abattait sur le Gstaad Menuhin Festival, le baryton aux plus de deux cents Voyage d'hiver et sa partenaire ont livré une interprétation légendaire, totale, du chef-d'œuvre de Schubert.