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

A compelling performance of Henze’s Requiem opens the Chigiana International Festival and its centenary tribute to the composer.

Vladimir Jurowski and the Rundfunk-Sinfonieorchester Berlin deliver a lean, razor-sharp exploration of captivity and survival, balancing Beethoven’s and Brahms’ structural clarity against the devastating, high-fidelity distortion of Henze’s Ninth Symphony.

Die Regisseurin Christiane Lutz macht mit dem Opernstudio der Staatsoper ganz im Sinn von Hans Werner Henze deutlich, dass mit Balzacs satirischer Tierfabel einer scheinheiligen Katzen-Gesellschaft wir selbst gemeint sind.

Eine beeindruckende Inszenierung, die Lust auf mehr Henze auf den Opernbühnen dieser Welt macht.

A deep-dive into the world of 14th-century Persian poet, Hafez, and his influence on song across the centuries. 

Sophisticated interpretation of The Bassarids by Hans Werner Henze at the Komische Oper Berlin

Smalltown Vermont is not to be second-guessed in Yellow Barn's top-rate program of Bach, Fauré, Hans Werner Henze and Kalevi Aho.

A memorable and important event in the history of British ballet, sensitively and sentimentally performed. 

A post-mortem fantasy that’s as compelling as it is confusing.

El Cimarrón proved worthy of both stage and museum, presenting the story of Esteban Montejo, born into slavery in Cuba in 1869 and later escaping to live in the forest.

Think of an exhilarating journey animated by an expert guide who lives and enjoys every moment, yet makes you believe he is discovering it with you and isn’t afraid to tease you with some daredevil steps off the beaten track.

Stephan Kimmig animiert mit seiner kritischen Inszenierung das Publikum zum Denken.

La OCNE dirigida brillantemente por Nagano y con Sean Panikkar encabezando un sólido reparto vuelven a traer a Madrid The Bassarids la obra maestra de Henze veinte años después.

Ingo Metzmacher leads a musically formidable performance of Hans Werner Henze’s shipwreck oratorio. Romeo Castellucci’s staging engages the senses but remains emotionally distant.

Keith Warner und das Theater an der Wien beweisen mit Elegie für junge Liebende ein weiteres Mal ihre hervorragende Zusammenarbeit.

In the finale to Der Dreigroschenoper the sinister incantation of "Denn wovon lebt der Mensch?" ("For what does man live?") ran delightfully close to the bone in these plush surroundings

Given the unappealing score and the lack of narrative and meaninful choreography, the dancers perform heroically.

Berlin’s Konzerthaus Orchestra began its new season with works by two composers set against the artistic orthodoxies of their day.

Teatro Regio celebrates Henze's 90th anniversary of birth bringing on stage for the first time in Turin the fairy tale Pollicino

Markus Stenz conducted the Hallé in a fascinating programme of Henze, Ravel, Liszt and Beethoven at Bridgewater Hall.

Weber, Henze and Mendelssohn cast a fairy spell over Symphony Hall. 

Henze's operatic magnum opus is thrillingly brought to life in the National Theatre's new production.

Mit Enthusiasmus und narrativer Ausdruckskraft begeistern Christian Thielemann und die Berliner Philharmoniker in einem gemischten Programm.

Mit einem Programm von kritisch-ernst bis herzerfrischend begeisterte das das Münchner Kammerorchester im Prinzregententheater unter dem Motto „Kindheit“ und fand dafür in Steven Isserlis einen kongenialen musikalischen Wegbegleiter.

Lyrical pathos and battering choral climaxes were the strong suits at the Dutch première of Hans Werner Henze’s incendiary oratorio Das Floβ der Medusa.

Thank goodness for the BBCSO! The London concert season would be far less colourful without it...

With speculation rife as to whether Sir Simon Rattle will become principal conductor of the London Symphony Orchestra upon departing from the Berlin Philharmonic, this electrifying concert provided a tantalising glimpse of what the future might have in store. 

A great post-war classic by Henze in a strong new production from Welsh National Opera. 

Concerts conducted by Oliver Knussen are always impeccably programmed, with surprising connections often teased out between unusual pieces. His 2013 Proms appearance was no exception to this rule, juxtaposing two contrasting works for piano and orchestra by Igor Stravinsky, in between a symphonic sandwich of orchestral pieces by Hans Werner Henze and Michael Tippett.

For the second of their two Sydney programs, the Mahler Chamber Orchestra pretty much replicated the layout of the first: a short modernist work, a concerto featuring a string instrument, and, in the second half, a big romantic symphony.

Birmingham Contemporary Music Group is celebrating its 25th anniversary this season, and as it does so it is marking the anniversary of Benjamin Britten’s birth. BCMG is touring a programme of Britten’s early compositions, the second stop of which was at Turner Sims in Southampton.John Woolrich, BCMG Artist-in-Association, was introduced as a “master programmer” by the Turner Sims representative.

Christoph von Dohnányi was Music Director of The Cleveland Orchestra from 1984 to 2002 and now holds the title Music Director Laureate. He paid a rare return visit to Severance Hall this weekend to conduct works by Hans Werner Henze and Gustav Mahler, composers with whom Dohnányi is closely associated.

Anyone who worries for the health of contemporary composition obviously wasn’t at the Southbank Centre this Sunday, where the London Sinfonietta presented a whole afternoon and evening’s worth of new music in and around the Queen Elizabeth Hall.

The Staatskapelle Dresden is widely recognised as one of the best orchestras in the world, featuring in tenth place in Gramophone magazine’s 2008 article ranking the world’s 20 finest orchestras. This season the orchestra welcomes Christian Thielemann as its new main conductor, and this concert began his much anticipated Brahms cycle with his new orchestra.

Tirolian composer Thomas Larcher has always struck me as a musician in the mold of that great Austrian stylistic dabbler, Ernst Krenek. A great deal of the twentieth-century finds itself reflected in Krenek, who rode the wave of numerous landmark ‘-isms’, a master of all (and his twelve-tone opera Karl V, the first full-length instance of operatic serialism, is a masterpiece) and exemplar of none.

On Saturday, Vienna’s Volksoper will premiere a double bill with a twist: Pagliacci will not be paired with Cavalleria Rusticana, but rather Hans Werner Henze’s first opera, Das Wundertheater.

“What a funny kind of fairy tale we’ve gotten into!” proclaims one of the characters in Elegy for Young Lovers, Hans Werner Henze’s odd 1963 opera. The audience may sympathize. W.H. Auden and Chester Kallman’s libretto of an uninspired poet in search of a new muse is not standard operatic fare.

One great advantage of premiering an opera in the United States is that audiences can’t compare productions and casts of past performances and find you lacking. One major disadvantage is that the audience has little or no fluency with the work and may struggle to comprehend its meaning and significance. With the U.S.