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

Sous la direction peu convaincante de Paul McCreesh, le Gabrieli Consort a livré un programme italien inégal, malgré l'incarnation brûlante de la mezzo-soprano Ann Hallenberg.

Il est des musiques faites pour être écoutées, d’autres pour être entendues, d’autres encore pour être comprises quand la plupart ne sont hélas que jouées. Enfin quelques unes sont heureusement vécues. Tout est question d’interprétation et les musiciens ne sont pas légion à pouvoir y prétendre. 

Fabio Biondi et son Europa Galante ont fait vibrer le Victoria Hall d’un air suave et chaud, rassemblant une bien belle équipe, très homogène, à la rencontre du répertoire baroque italien, avec les Quatre saisons couronnant ce voyage ensoleillé. 

Jeudi 12 janvier dernier, le Convention Palace de Bethléem accueillait Amandine Beyer dans un programme consacré à Corelli, après une semaine de résidence où la violoniste française a formé un orchestre de jeunes musiciens particulièrement talentueux. Ce concert a été marqué par l’engagement et les qualités extrêmement prometteuses des interprètes.

Luftig weiche, herzaufgehende Wärme und freudige Überzeugungskraft ließen Bachs Pauken- und Trompetenjubel nicht einmal vermissen.

Corelli and a triple-decker sandwich on the south coast, with three arias from Handel’s Messiah separated by two concertos from Vivaldi’s Four Seasons.

Familiar works by Bach, Handel and Corelli were enhanced by a fine performance of Mendelssohn's rarely played String Symphony no. 7.

Un concierto, en conclusión, notable, que comienza a escribir con caligrafía musical digna de encomio la nueva historia de la OBS tras los meses de confinamiento.

In each brief and catchy excerpt, the ensemble played with infectious vitality and admirable precision.

The Academy of Ancient Music played with such stylistic elegance, charm and sheer physical beauty that it was like hearing I Musici and Virtuosi di Roma for the first time in this repertoire in the 1950s.

The Scottish Ensemble with guitarist Sean Shibe perform a thoughtful programme of ancient and modern Christmas-themed music in a candlelit St John’s Kirk.

Mit Leidenschaft und ohne Kitsch feierten Monica Waisman, Florian Deuter und Ensemble ein rauschendes Geburtstagsfest.

A mixed programme of Corelli, Handel and Pergolesi brings beauty and spiritual intensity, as well as some empowered erotic playfulness, to an evening with the Academy of Ancient Music. 

Maurice Steger brought this essential but under-represented instrument from Renaissance and Baroque chamber and ensumble music to a mainstream concert hall. 

Excellent choral concert for Handel Festival at Karlsruhe, featuring works by Vivaldi and Handel, which also highlight up-and-coming countertenor Jakub Józef Orliński. 

Conductor and violinist Fabio Biondi led the CSO in works of Corelli and Vivaldi, while Vivica Genaux served as an impressive soloist in a selection of Baroque arias.

In the opening concert of the fifth Valletta International Baroque Festival, soloist Andrea Di Marco shows the versatility of the Baroque trumpet.

A skilfully programmed evening of Italian Baroque music gave us a Christmas concert with a difference – and, thanks to superb playing from Spiritato!, an immensely enjoyable one. 

Gabrieli Consort & Players zelebrieren Händels Musik vorzüglich.

An delightful hour of Baroque rarities from Repicco and Friends.

Craig Ogden in Castelnuovo-Tedesco's Guitar Concerto no. 1 is the highlight of the Northern Chamber Orchestra's varied concert of (mostly) Italian music in Macclesfield.

Young ensemble demonstrates their maturity at the Valletta International Baroque Festival.

Die Göteborger Symphoniker gaben mit dem Symphonischen Chor ein besinnliches Konzert für die Adventzeit.

Raquel Andueza und Al Ayre Español überzeugen mit spanischen Arien von José de Torres.

An enjoyable programme of works by Corelli, Scarlatti, Porpora, Bononcini and Vivaldi by the Concerto de' Cavalieri and Marcello Di Lisa.

Can you imagine being a concertgoer in the early years of the 18th century, when Corelli, Vivaldi, Bach and Handel were all writing new music and performers were being pushed to find new ways of playing?

Most striking about the Academy of Ancient Music’s playing is its neatness: every phrase is so precisely shaped, so clean. Presumably this is down to impeccable preparation as well as an intrinsic feeling in the group for how Baroque music should sound. But their playing also sounds fresh, new, surprising.

Picture a warm May evening, walking the narrow, silent, cool streets of the ancient capital of Malta, then sitting amongst a magnificent collection of 17th- and 18th-century art with a promise of secrets!This was the setting for a concert – no, in fact, a spectacular – held on Friday 10 May at the Cathedral Museum, Mdina.

If there’s one glowing aspect missing from the burgeoning classical music scene in Istanbul, it is chamber music. The city has been a host to an increasingly diverse range of musical performances and festivals in the last few years, thanks to rather effective sponsorship arrangements, as well as small organizations, and sometimes even individuals, taking charge in organizing concert series.

The Chamber Philharmonic Europe is an orchestra of some sixty players from all over Europe, founded in Cologne in 2006. During this past month, ten of its players have been touring a popular classical programme round small venues across the country, taking classical music to the far-flung reaches of the kingdom.

My sweet course of the sumptuous feast, under the title of the Valletta International Baroque Festival, arrived on 18 January. The fare was a selection of various European deserts, performed by the New Century Baroque at the Jesuit Church in Valletta.

What better antidote to the hustle and bustle of Christmas shopping than a sackful of festive concertos? With Birmingham’s famous German market in full swing right outside the Town Hall, inside was also packed with concertgoers of all ages eager to hear celebrated violinist Nicola Benedetti.

Oxford Town Hall was certainly decked with boughs of holly for last night’s Christmas special. Featuring the twelve-piece Orchestra of St John’s and a carol-singing choir, the scene was set for a cosy evening away from the cold and drizzle outside. Maybe the best way to describe this concert is by comparing it to a festive CD.

Fabio Biondi and Europa Galante – tour de force superstars in the world of historically-informed performance. Ever since I had first purchased their CD of Vivaldi’s L’Estro Armonico as a youngster, I have been in totally awe of the sheer brilliance of their playing. No longer were the familiar Vivaldi concertos mundane Suzuki student pieces; now they were living, breathing virtuosic showpieces.

The second of violinist Peter Sheppard Skærved's Soundbox series once again took place in the exposed-brick Green Room above the bar at Wilton's Music Hall. As with Soundbox 1, the programme comprised short bursts of music with readings of contemporary material, but this time we also had visual aids in the form of postcards, which were referred to througout.

Put on a good quality string trio at a London classical music venue and there's one thing you can be sure about: the average age of the audience is going to be over 60. But then the Orchestra of the Age of Enlightenment weren't exactly playing by the usual rules.

When I was young, I often wondered what it would be like if an angel came down to earth. I mused that, if such an angel came, she would be a pretty, middle-aged lady with a slender figure, blonde hair, and, most importantly, a gorgeous, ethereal voice. Yesterday at the Music Institute of Chicago, I almost believed that such an angel had indeed come down from heaven when internationally-acclaimed soprano Lucy Crowe – the shining star of the Lyric Opera of Chicago’s production of Handel’s Hercules – joined Baroque Band for an enchanting, memorable evening of historically-informed Baroque performance. Guest directed by English Consort Director Harry Bicket, who masterfully led the Lyric orchestra in Hercules, this concert proved the ultimate encore for both Bicket and Crowe following their operatic triumph at the Lyric.