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At the Enescu Festival n Bucharest Vladimir Jurowski celebrates the centennial of Die Frau one Schatten’s premiere.

In a program devoted to Béla Bartók, the visitors from Hungary conveyed both a distinct uniqueness of their heritage as well as a possibility of music as a tool for communication and understanding.

Powerful and evocative imagery, both literal and implied, lingered on beyond the drop of the curtain.

The London Philharmonic’s concert performance of Enescu’s Oedipe proves an extravagant but triumphant way to launch the orchestra’s new Royal Festival Hall season.

The big heart and generous melodies of Ferenc Erkel's fine opera shine through in difficult circumstances in Atilla Vidnyánszky semi-abstract new staging at the Erkel Theatre.

Vladimir Jurowski and the LPO gave a stunning performance of Enescu’s operatic masterpiece, despite a dramatically limp concert staging.

Iván Fischer and the Budapest Festival Orchestra gave a lesson in ethnomusicology as part of the their all-Bartók programme, which culminated in a towering performance of Bluebeard's Castle.

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,

Charles Dutoit and the Royal Philharmonic Orchestra are the stars in a demanding programme of Dvořák and Bartók.

Inadequate production and mixed performances characterize the Hungarian State Opera's new Trovatore.

Known for her powerful interpretations of the blockbuster Italian mezzo roles, the great Hungarian diva Ildikó Komlósi dominates the new production of Aida in Budapest.

Bartók's Duke Bluebeard’s Castle makes for an enthralling evening, both in its depth of psychology, its amazing score and in the RPO’s colour filled performance, with stand-ins Sir Willard White and Ildikó Komlósi in fine voice.

The unnecessary celebrations of Richard Strauss’ 150th birthday seem to have begun early at the Metropolitan Opera. Two weeks after this Die Frau ohne Schatten comes Der Rosenkavalier, and a few months after that Arabella. By the standards of Strauss at the Met, Herbert Wernicke’s Frau is still new at only a dozen years old.

Read our review of Jürgen Flim's production of Salome in its 2008 broadcast from the Met Opera in New York.

Die deutsche Erstaufführung von Kaija Saariahos Vista ergänzt ein Programm raffinierter Orchesterfarben.

Trois jours de festivités musicales autour de Budapest ont révélé, pour sa première venue à la Philharmonie de Paris, le jeune chef Gábor Káli, dans un programme entièrement bartókien. À l'honneur ce dimanche : Le Château de Barbe-Bleue.

Das Budapest Festival Orchestra bringt mit einem Bartók-Programm ungarische Klangfarben in die Elbphilharmonie.

Das Kelemen-Quartett überzeugte mit leichter Artikulation, einem weichen Ton und ausgezeichneter, sprechender Agogik und Dynamik, perfekter Koordination. Es agierte aus einem Geist, mit einer Seele.

Bei den Metamorphosen waren die leisen Stellen total verinnerlicht, und in den intensiven Partien schien das Klangbild demjenigen der vollen Besetzung in nichts nachzustehen.

Retour sur la performance mémorable du Château de Barbe-Bleue à l'occasion du Budapest Festival, une formule désormais annuelle qui offre durant quelques jours au Budapest Festival Orchestra le monopole du Concertgebouw de Bruges.

Un sombre pacte faustien anime cette nouvelle création de Luca Francesconi à l'Opéra de Paris, servie par une distrution vocale précieuse et portée par une musique aux harmonies plurielles.

Gil Shaham triomphe du Concerto pour violon et orchestre, op. 11 de Samuel Barber, faisant presque oublier que l'œuvre de la soirée n'est autre que l'intense Barbe-Bleue de Bartok, porté à des sommets d'intensité par l'Orchestre National de Lyon.