En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Eötvös

Après un temps d'adaptation, l'Orchestre de Paris et Pablo Heras-Casado se sont accoutumés l'un à l'autre et ont livré de très belles interprétations, notamment celle du troisième concerto pour violon de Péter Eötvös, joué par Isabelle Faust.

L’Orchestre de Paris s’adjoignait mercredi la violoniste Patricia Kopatchinskaja pour un concert consacré à deux maîtres de la musique hongroise : Béla Bartók et Péter Eötvös, au pupitre de direction ce soir.

Retour sur un programme retraçant l'histoire de l'Intercontemporain.

El compositor Peter Eötvös se pone al frente de la Orquestra Sinfónica do Porto Casa da Música para dirigir su ópera Senza sangue muy bien complementada con El castillo de Barbazul.

Peter Eötvös's thirteenth opera, based on the Trilogy by Norwegian author Jon Fosse, chronicles the struggles of a young couple to search for their own identity and place in society.

The Czech Philharmonic and soloist Tamás Pálfalvi take wing in a smart modern music program expertly crafted by composer and conductor Péter Eötvös.

Peter Eötvös and the BBC Symphony Orchestra offer a new music and a clever programme for this lively Prom concert. 

ChamberFest Cleveland’s Hungarian evening traversed works of Liszt, Eötvös, and Dohnányi, alongside Brahms’ apt Hungarian Dances.

Zubin Mehta and the Berlin Philharmonic have an extraordinary relationship lasting over five decades. In three performances in the Philharmonie, Mehta paired a piece from the core of his romantic repertoire with a new percussion concerto.

Eötvös' drei Melancholie-Schwestern führen das Frankfurter Publikum durch die todtraurigen und absurden Existenzformen des postmodernen menschlichen Daseins.

In a sensational Hungarian double bill of taut psychological drama at Müpa, Péter Eötvös' Senza sangue proves a thrilling partner to Bartok’s Bluebeard’s Castle.

A double bill of operas that were literally made for each other, Péter Eötvös wrote his one act masterpiece Senza sangue in 2015 to act as a partner piece for Bartók's Duke Bluebeard’s Castle.

Die mehr als fünfminütige Kadenz spielte Kristóf Baráti mit schwingender Agogik, selbst in kräftigen Akzenten immer sonor, sauber im Klang und glockenrein – Ausdruck, nicht Eindruck oder extrovertierte Virtuosität.

In this concert, conducted by Simone Young, featuring works by Hungarians, Bartók and Eötvös,  the colour and virtuosity of both pieces was presented with an extra tingle factor.

The Hungarian State Opera offered up a belated Hungarian première by one of its native sons, Péter Eötvös – his 2007 opera Love and Other Demons.

Despite the burbling streams with which Smetana's Vltava trickles into life, this was no pastoral stroll on the gentle slopes of Bohemia, Hungary and Poland.

Flüchtige Szenen, Absurdes, Trauriges: Der Goldene Drache spricht die Fragen der Globalisierung an und bietet extravagante Musikalität von Peter Eötvös.

Péter Eötvös conceived his opera Senza Sangue (Without Blood) as a complement to Bartók's Bluebeard's Castle. Dmitri Tcherniakov has now staged and designed Senza Sangue together with Bluebeard's Castle for Staatsoper Hamburg.

The applause and screams at the premiere were raucously frenetic – and while the hysteria seemed a bit exaggerated, an energetically positive reception was completely justified.

Konzert mit dem Glockenschlag: In nur einer Stunde präsentiert Marburg elf Werke, neue Klänge und ungewöhnliche Interpreten.

The most memorable thing about this concert for me was the sheer glory of the Philharmonia’s playing. Whether it was in the winning, sprightly Mozart overture, or in all the glinting colours of Peter Eötvös’ new work, or in the full and rich late-Romantic orchestral tones of the Bruckner, these musicians, conducted by Esa-Pekka Salonen, were magnificent.

The Los Angeles Philharmonic’s January 20 concert, the last in its “Focus on Eötvös” mini-residency, may as well have been called “Focus on Hungary.” The small, landlocked country, with barely over 9 million residents, has exerted – and continues to exert – a powerful influence on music.

"Con Brio" is a term which demands excitement, strength, and enthusiasm. This evening‘s Toronto Symphony Orchestra New Creations Series concert was based upon exactly these concepts. To kick off the program, Peter Oundjian led the TSO through the Canadian première of Jörg Widmann's concert overture Con Brio. The timpani opened followed by brief grandiose chords.