Live, Video: Find classical music concert, opera, ballet and dance reviews | Der Tod und das Mädchen (Claudius), D.531

In a thoroughly riveting recital at the Concertgebouw, soprano Anna Prohaska probes Ophelia’s psyche through songs from the nineteenth century onwards.

Twentysomething Philippe Sly wields an impressive voice. Like the mythical John Henry’s hammer, it rings like silver in the upper register, the middle shines like gold, and his bass is firm as iron. From the second line of Henri Duparc’s “Chanson Triste” Sly interested with his way of rolling out phrases, englobing lines in cavernous spaces.

Marian Anderson, the famed African-American contralto, once remarked of Kathleen Ferrier, “My God, what a voice – and what a face!” This concert was a Centenary Celebration of Ferrier’s art at the Wigmore Hall, and I reflected (not for the first time) how aptly Anderson’s words could also apply to Alice Coote, the evening’s distinguished soloist.

The Australian Chamber Orchestra, known both for its innovative programming and for the tightness of the ensemble playing, displayed both qualities on Saturday night, the second stop in a five-city, nine-concert tour.

Andreas Bauer Kanabas und Daniel Heide präsentieren Schuberts letzte Liedersammlung an der Oper Frankfurt.

Der Bass Andreas Bauer Kanabas und Pianist Daniel Heide gastieren mit Schuberts Schwanengesang in der Villa Wahnfried.

Un bric à brac sonore merveilleusement poétique soutient merveilleusement la voix de la chanteuse

Ein außergewöhnliches Konzertprojekt von Patricia Kopatchinskaja und der Camerata Bern, das das schier unerschöpfliche Potential klassischer Musik ausleuchtet.

Au Centre de musique de chambre, au mois de février, deux programmes se partagent l'affiche : Beethoven par le quatuor Arod, puis La Truite de Schubert jouée par la troupe de musiciens du Centre. Toujours autant de passion et d'excellence ; un vrai bonheur !