Rechercher des critiques de musique classique, opéra et ballet | Kurtág

Le violoncelliste anglais Steven Isserlis a donné un récital devant un nombreux public à la Stadtkirche de Thoune, en Suisse, en septembre dernier, dans le cadre des "Semaines Bach".

La Philharmonie de Paris accueillait l’Orchestre du Conservatoire supérieur de Paris encadré par l'Ensemble Intercontemporain, pour une soirée consacrée à Ligeti, Kurtag et Bartók.

This was Tchaikovsky raw and fierce as if he had written it, as he might have, for a young lover.

Yomiuri Nippon Symphony Orchestra's Sunday matinee, which was the final concert for its outgoing Principal Conductor Sylvain Cambreling, had many French connections.

Never before has human impotence been so cruelly portrayed on stage.

Alasdair Beatson presented a dazzling programme of 20th-century piano music, with Harrison Birtwistle at its centre. 

Finding wit and introspection with Psappha in their 2018/19 season opener

The Staatsorchester Darmstadt under Will Humburg performed three mightly works for large orchestra to bring its season to a close: Kurtág's Stele, Strauss's Also Sprach Zarathustra and Stravinsky's Rite of Spring.

Aimard fühlte sich bei Kurtág offensichtlich zuhause. Er lebt in diesen Werken Es ist fast durchweg reflektierende, manchmal beinahe feierlich-heitere Musik. Interessant und ansprechend, insgesamt!

American pianist Jonathan Biss explored the notion of late style in a programme of works by Schumann, Kurtág, Chopin and Brahms which revealed a common intensity of expression regardless of the composer's age.

The Saint Paul Chamber Orchestra delivers a thrilling account of Schubert's Second Symphony, while pianist Jeremy Denk inspires in Mozart and chamber works by Schumann and Kurtág.  

Thursday's opening of the Oslo Chamber Music Festival showed an enticing bredth of programming, showcasing a wide array of new and old music, all performed with utter conviction.

A three hour Bach "meditation", with Bach mixed with Kurtág, various other modern pieces and free jazz improvisation all sounded a bit radical. But the results were extraordinary. 

Eine Österreischische Erstaufführung, Kurtág, Schumann, dramaturgische Logik und viel Musikalität wurden im Großen Saal der Stiftung Mozarteum mit Spannung verfolgt.

Playing repeatedly in my mind as I walked home on 24 July was the spine-chilling orchestral performance of the "Dance of the Knights" from Prokofiev’s Romeo and Juliet in the Franz Liszt Academy’s superb Solti Hall.

Budapest rolled out the red carpet for its legendary composer György Kurtág, who, amidst a celebratory week, was the honoree at his splendid 90th birthday concert. 

At age 92, Menahem Pressler presented a demanding recital at Symphony Center. Results were mixed, but his reverence to the music was incontrovertible.

Am Dienstag vor genau 467 Jahren unterzeichnete Moritz von Sachsen das Gründungsdokument der heutigen Staatskapelle. Aus diesem Anlass präsentierten Mitglieder des Orchesters am Dienstagabend vier Werke aus Tradition und Moderne.

The Lucerne Festival recently celebrated the life and musical achievement of the great French composer and conductor Pierre Boulez on the occasion of his 90th birthday.

Piano duo Antoine Françoise and Robin Green perform a challenging, innovative and entertaining lunchtime recital.

While Britain was still at the polls, birthday boys Brahms and Tchaikovsky slugged it out in friendly battle at the Barbican. 

The Britten Sinfonia's tribute to Mozart fell somewhat flat, with only hauntingly beautiful Kurtág able to somewhat redeem passionless performances of Adams and Tavener.

Marino Formenti only briefly introduced his eclectic whirlwind recital, “Liszt Inspections”, before calling out “Good luck!” and diving into one of the most attention-grabbing sequences of music that I’ve ever witnessed.

Appearing at Milton Court, Leila Josefowicz enclosed three short utterances from the 20th century with two works by Schubert. After a shaky start to the evening, Josefowicz turned out an impressive performance full of fire and flair, excelling in Stravinsky’s Duo concertant.

Sydney Chamber Opera deliver a thrilling double-bill of works by Kurtág and Benjamin under the direction of Jack Symonds, at the Sydney Festival 2014.

There’s something strange about applauding at the end of very quiet music: it is counterintuitive to make more noise clapping than the performers made during the actual performance. But the appreciative Kings Place crowd in Hall Two knew the drill, and this concert of “Some Recent Silences”, as it was billed, proved justly popular.

“The moonlit night dazzled us. Birds shrieked in the trees. There was a rush of wind in the fields. We crawled through the dust, a pair of snakes.”Maybe the pair of snakes is Franz Kafka, the author, and György Kurtág, the composer who set this short passage (along with 39 others by Kafka) to music.

It is hard to imagine that many of the world’s major orchestras will begin their seasons this year with only three people on stage. Yet in this fascinating programme which promised much and never quite delivered, New York Philharmonic music director Alan Gilbert was joined under the proscenium arch only by timpanist Markus Rhoten and pianist Leif Ove Andsnes.

Edinburgh's Queen's Hall, combining centre stalls with a horseshoe of pews on two levels, boasts a wonderful chamber music acoustic. The attentive Sunday afternoon audience for the SCO Chamber Concert had no difficulty making out every nuance of the small forces present.

The lively acoustic of the lovely Stenton Parish Church, 23 miles east of Edinburgh, hosted the fourth of sixteen concerts in this year's Lammermuir Festival, the motto of which is Beautiful music – beautiful places. I have to confess to a carbon sin of the mind in being prepared to undertake the 46-mile car journey to hear 5 minutes of music by György Kurtág.

The Wigmore Hall on July 13th was The Jupiter Quartet’s only UK appearance on their America-based Summer tour. They used the opportunity to showcase the innovations which occurred within the String Quartet repertoire through the twentieth century , ending with a homage to the form’s Classical peak.

Many writers dream of having letters after their name, particularly if those letters are -esque. The idea that one's prose style prompts recognition and imitation has an obvious appeal. Few could have been more surprised at attracting this suffix than Franz Kafka (1883–1924) who, having had no novels published in his lifetime urged, without success, the posthumous destruction of his opus.