Live, Video: Find classical music concert, opera, ballet and dance reviews | Louis Langrée

The CSO packed much excitement into an hour-long program, featuring folk-inspired works of Walker and Kodály, along with the irresistible charm of Shostakovich’s Second Piano Concerto.

Music Director Louis Langrée leads a program of Schubert, Julia Perry's Homunculus CF and Anthony Davis's You Have the Right to Remain Silent, featuring Anthony McGill as an outstanding clarinet soloist.

Classic works by Barber and Copland were performed alongside a contemporary composition that puts itself in conversation with the National Anthem.

Romanticized but highly enjoyable Mozart performances, monumental Brahms, but more gusto than tenderness characterized the program.

Hamlet lives! Ambroise Thomas' operatic take on The Bard has a particularly French ending but that doesn't spoil this terrific revival in Paris. 

The Mostly Mozart Festival ended its season with an all-Mozart program centered on the Requiem. Paired with that was a piano concerto with Stephen Hough and the rarely-heard Meistermusik.

This was the first visit of Cincinnati Symphony Orchestra to the Proms and in their native repetoire of Bernstein and Copland they had substantial success.

The program focused on the essential role that Clara Wieck-Schumann had in the artistic development of both Robert Schumann and Johannes Brahms.

Enlightenment indeed at Lincoln Center as the Mostly Mozart Festival opens with a gloriouds hodge-podge. 

Louis Langrée conducts the Hallé in music by Prokofiev and Tchaikovsky at the Bridgewater Hall in Manchester

Mozart Dances is a great piece of work and when paired with Garrick Ohlsson and the Mostly Mozart Festival Orchestra, it’s a terrific night at the theater.

After an exhausting multiple rehearsal week the Cincinnati Symphony Orchestra kicked off its current season with a rousing reading of Beethoven’s Fidelio Overture.

Haydn’s late, lofty achievement has the august quality of a masterwork, coupled with cheerfulness befitting a summer series that ends in the month of August.

The Met's revival of Carmen, with its rotating set, has a successful opening night with a strong cast, an insightful conductor, a superb orchestra and chorus, all working well as a team.

A blazing performance by violinist Patricia Kopatchinskaja and a mildly disappointing Mozart Requiem round off New York’s annual Mostly Mozart Festival

The Camerata Salzburg’s evening of Mozart, Enescu and Vaughan Williams at Berlin’s Konzerthaus was a crisp and bubbling performance that stimulated the intellect as well as the emotions. Beginning the evening with George Enescu’s Two Intermezzi for String Orchestra, the Camerata swept audience members away into a world gone, but too lovely to be forgotten.

Now in its fourth and final week, the Mostly Mozart Festival welcomed one of the biggest names on its lineup, Joshua Bell, to Avery Fisher Hall as guest soloist. Music Director Louis Langrée conducted the Mostly Mozart Festival Orchestra in a program of Mozart and Tchaikovsky.

Not a new production, the Metropolitan Opera’s staging of Dialogues des Carmélites, originally directed by John Dexter in 1977, was nonetheless fresh and compelling in its approach and not at all tired, despite its age.

New York’s Mostly Mozart Festival continued Friday evening with three works, all marvelous and presented in reverse-chronological order. After Witold Lutosławski’s Muzyka żałobna, the orchestra and conductor Louis Langrée were joined by French pianist Jean-Efflam Bavouzet for Bartók’s Piano Concerto no. 3, and the concert concluded with Mozart’s Symphony no. 39 in E flat major.

In their latest set of concerts, the Mostly Mozart Festival on Tuesday presented two works: one largely unknown, the other among the most beloved in the standard repertoire. The first, Luciano Berio’s 1989 Rendering, is fragmented and open-ended. The second, Beethoven’s Piano Concerto no. 5, “Emperor”, about as solid and decisive as they come.

This year’s Mostly Mozart Festival at Lincoln Center opened on Tuesday evening and, to put it encouragingly, there will certainly be room for improvement as the festival continues. (The present review relates to Wednesday’s performance of the same works.

Read our review of Patrice Caurier and Moshe Leise's production of Ambroise Thomas­'s Hamlet in its 2010 broadcast from the Met Opera in New York.

De retour à l’Opéra Comique, l'œuvre d’Ambroise Thomas n’a rien perdu de son pouvoir de fascination, portée par deux des plus grandes voix du moment et par la mise en scène de Cyril Teste.

En ce morne décembre, l’Opéra Comique offre avec Fortunio un somptueux festin musical et théâtral servi par des interprètes au sommet.

Sous la baguette d'un de ses chefs favoris et en compagnie d'Anne Sofie von Otter, l'Orchestre des Champs-Élysées fait étape avenue Montaigne au début d'une tournée 100% Ravel.

Le Comte Ory vient clore en apothéose la saison 2017 de l’Opéra Comique, avec à la manœuvre le tandem Louis Langrée et Denis Podalydès.

Dernière étape de leur tournée européenne, le Cincinnati Symphony Orchestra et son directeur musical Louis Langrée se produisaient à la Seine musicale. La bannière étoilée ne flottait pas sur l’île Seguin, mais c’était tout comme : le programme mettait exclusivement à l’honneur les musiques du « Nouveau Monde ».

Il est tentant de plaquer sur l’essence poétique du livret de Maeterlinck, à la fois illogique et cohérent, des relectures, des idées de mise en scène ou des projections plus ou moins pertinentes – en bref : de rationnaliser un propos laissé volontairement à l’imagination. 

On nous avait certes garanti une production exempte de têtes emperruquées et de décors à dorures, mais pas grand-chose ne nous avait préparé à une telle radicalité de mise en scène. 

Patricia Kopatchinskaja und die Camerata Salzburg - kann sich hier Harmonie einstellen? Meine Zweifel sollten auf eindrucksvolle Weise zerstreut werden.