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John Adams’ Antony and Cleopatra puts the composer's propulsive music at the service of both moments of riveting human drama and less effective scenes of battle and politics. 

John Adams returns to Toronto to conduct the TSO in an exciting and varied programme marked also by the debut of Spotlight Artist Anna Prohaska. 

A capacity crowd turns out to see the doyen of American composers work his contemporary magic in the Rudolfinum. 

John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton. 

The celebrated American composer, who is this year's Composer-in-Residence at the Zurich Tonhalle, brings the whole audience to its feet.

Conductor-composer John Adams put his own work in conversation with Ravel and Stravinsky.

A rare misfire showcasing the music of minimalism’s all-stars. 

John Adams returned to Cleveland to lead two of his own works – including the local première of Scheherazade.2 – framing Copland’s Quiet City and Appalachian Spring.

At the Barbican last night, Gerald Finley, John Adams and the BBC Symphony Orchestra combined to deliver the heaviest operatic punch I’ve been subjected to all year.

Canny programming very much shone the spotlight on the performance of John Adams recent ‘dramatic symphony’ Scheherazade.2, preceded by Bartok and Stravinsky rarities.

John Adams' Christmas oratorio sees some fine performances, but was ultimately found wanting.

John Adams' Scheherazade.2 is chalking up performances around the world. Would it live up to expectations? 

John Adams conducts his Scheherazade.2, giving a strong depiction of the oppression of women in extreme religious societies. It makes for a fascinating evening.

John Adams conducted the Atlanta Symphony Orchestra in works ranging from the frothy to the very serious, including his latest composition, Scheherazade.2.

In an innovative concert experience, John Adams curated a night of living composers to shine the spotlight on his favorite new works, answering the question: “Who’s on John Adams’ playlist?”

On Wednesday night, a group of young artists coached by John Adams and David Robertson warmed up on the stage of Carnegie Hall’s Zankel Hall. The snatches of the music we were about to hear – from cinematic melodies to jaunty dance-like snippets – jumbled together as one usually expects of a warm-up.

The Barbican has scored itself something of a winner in securing the Los Angeles Philarmonic Orchestra to fulfil its International Associate Residency.

New music was the main and sole dish that last Tuesday’s Green Umbrella Concert at Disney Hall laid out, but for some audience members their encounter with these works might not be their first. To paraphrase NBC’s late 1990s marketing for its prime-time TV summer reruns: “If you haven’t heard it, it’s new to you.

Inspiration for a composition can come in many forms; a letter from Clara Schumann, the brutality of Stalin's police, growing deaf or hearing birdsong. The final concert of John Adams’ short residency at the Barbican focused on a more reverent strain of influence, however: the peculiar tendency for living composers to want to reference dead ones.

January 2013 is turning out to be a pretty major month for 20th-and 21st-century classical music in London’s cultural mainstream, with Harrison Birtwistle’s The Minotaur roaring loudly at the Royal Opera House and the Southbank Centre’s The Rest Is Noise series, a year-long celebration of 20th-century music, launching currently.

“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.

Every opera should have at least one of those “wow” moments that lift you out of your seat and have you singing them in your head on the way home.

Symphonic evocations of ancient Rome and 1950s Los Angeles filled the Royal Albert Hall last night, with John Adams conducting a combined orchestra of students from London's Royal Academy of Music and New York's Juilliard School. Between these pieces, by Respighi and Adams himself, the players were joined by pianist Imogen Cooper for Ravel's G major concerto.

As Philip Glass’ Symphony No. 9 ground to a halt last Thursday night, cellos and basses trailing off into silence, a few things came into focus. First, there was no missing the irony that Philip Glass, once among the outsiders of the musical world, should nearly a half century later find himself one of the American school of composition's most revered composers; perhaps its dean.

Read our review of Peter Sellars' production of Nixon in China by John Adams, in its 2011 broadcast from the Met Opera in New York.

John Adams dirigiert das Radio Filharmonisch Orkest in einem interessanten Programm, das jedoch nicht immer überzeugen kann.

Qui de mieux que John Adams pour diriger un concert américain ? L'Orchestre Philharmonique de Radio France s'est associé au fameux compositeur pour un concert prometteur mais finalement frustrant, notamment dans la création du jour.

L’Auditorium célèbre les 70 ans du minimaliste en sa présence, avec l’ONL sous la direction de Leonard Slatkin et l’éblouissante violoniste Hilary Hahn dans le concerto de Tchaïkovski

Cet oratorio, dont le livret de John Adams et Peter Sellars mélange habilement plusieurs langues semble symboliser l'universalité du langage musical. Interprété avec beaucoup de justesse par le LSO, il constitue une oeuvre majeure du compositeur américain.

Un bien beau concert en ouverture du Festival de la Bâtie : rien de moins que du John Adams par John Adams. En prime, son concerto, servi par une des interprètes qui connaissent le mieux ce répertoire, nous a permis de goûter aux délices des mélopées orientalistes de Scheherazade.2 ! Un must !