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

Dans le cadre du Festival Arsmondo, l'Orchestre Symphonique de Mulhouse dirigé par Ken-David Masur donnait un programme consacré à Golijov, Ginastera et Beethoven, avec le pianiste Gabriel Urgell Reyes.

Karen Kamensek, Gabriella Reyes and the Festival Orchestra of Lincoln Center turn in a sporadically satisfying performance at Summer for the City. 

Spanischer Flamenco und südamerikanischer Tango und Jazz: das Gastkonzert des BRSO in Bamberg wurde mit der unwiderstehlichen Musikalität von Simon Rattle und den Labèque-Schwestern ein umjubeltes Konzerterlebnis.

Golijov's La Pasión según San Marcos is full of life, but seeing it as well as hearing it definitely helps. 

Deborah Colker's production, seen last season at Scottish Opera, moves to the Wales Millennium Centre for an autumn tour. 

A semi-staging of Golijov's “tone poem in voices” in Boston's Symphony Hall. 

The young Norwegian conductor Tabita Berglund has been making waves on the international circuit and is already exhibiting much promise. Here she directs the Hallé in an eclectic mix of Wagner, Golijov and Beethoven.

Dance, jazz and Latin rhythms were all present in this programme, which rolled back the years to Rattle's early years. 

Miembros de la OSN, solistas invitados, un gran coro, muchas percusiones, micrófonos, capoeira, bailarín... dieron vida a la La pasión según San Marcos del compositor argentino Osvaldo Golijov.

The Scottish Ensemble on lively form is joined by exciting Venezuelan pianist Gabriela Montero to explore the links and influences of Bach and Mozart on modern South American composers.  

As Birmingham-born Alpesh Chauhan builds his reputation towards becoming a conductor much in demand, so the CBSO finds itself in the fortunate position of securing the services of Mirga Gražytė-Tyla as Andris Nelsons’ successor as Music Director, with a chance to grow Chauhan as Assistant Conductor.

Brodsky String Quartet: A master of precision, nuances and moods introduced the Turkish audience to South American contemporary composers. What an enchantment!

As usual, the performances here were thoroughly committed, but repeated cases of uncertain intonation and rhythmic imprecision prevented them from reaching the heights the audience have experienced in earlier programmes.

John Woolrich's Songbook project provided the vocal material on show at the Birmingham Contemporary Music Group recital at Wigmore Hall, featuring sopranos Gillian Keith and Rebecca von Lipinski.

Bravo to Opera Phila for presenting a startlingly beautiful contemporary operatic work by Osvaldo Golijov, one that's vital in the evolving landscape of 21st century opera.

On Saturday at St James’s Church, the Nonsuch Singers presented a captivating programme titled “To the Field of Stars”. It was a compelling mix of recent and old music, predominantly works by living composers and composers from the 16th century. It culminated in the première of Gabriel Jackson’s newly commissioned work To the Field of Stars.

“Opening Night” at the New York Philharmonic is a gala affair, although it’s rarely the actual opening night of the season. The gala isn’t as gaudy as the one that takes place across the plaza at the Metropolitan Opera, but it’s an auspicious occasion nonetheless, filmed for broadcast on public television and usually featuring a soloist with the appropriate star wattage.

On Friday night, the Irish new music group Crash Ensemble produced some sonic pyrotechnics to match the Scriabinian lights display at Carnegie Hall’s recently renovated Zankel Hall.

The Brodsky Quartet, named for violinist Adolph Brodsky (1851–1929), formed in 1972. Two founder members remain: second violinist Ian Belton and cellist Jacqueline Thomas. 2,000 concerts and 50 recordings later, they have been celebrating their 40th anniversary year by mixing their huge repertoire with an element of chance. Enter “The Wheel of 4Tunes”.

Born in Argentina to Eastern European Jewish parents, composer Osvaldo Golijov certainly brings many cultural influences to the musical table, influences that shone through in the three works of his performed at Zankel Hall on Monday night.

If there was any sense that the Marin Alsop was at the end of a particularly harried week for her, she displayed no signs of it at her “Casual Friday” concert with the Los Angeles Philharmonic on Friday 2 November. The Baltimore-based conductor found herself at the center of the headlines last week – albeit for reasons she probably would have preferred to have passed up on.

It was an evening of contrasts in the Sydney Symphony Orchestra’s latest concert. The program was subtitled Tchaikovsky at the Ballet, referring to the second half of the concert, which comprised highlights from the Nutcracker and Swan Lake; however, the first half was every bit as intriguing.

I wasn’t quite sure what to expect from the Kronos Quartet’s ‘Musical Meditation on the Anniversary of 9/11’, the centrepiece of their week-long Barbican residency. Especially, I must confess, when I learned that the recital would feature a children’s choir. There was a chance, I thought, that this would be taking things slightly too far.

It’s not every evening that you hear a composition played on two serrated Nigerian Fanta bottles. Nor is it every evening that you hear pieces by Schumann and David Byrne (formerly of Talking Heads) in the same concert. Nor, for that matter, do cellists often sing. As this concert’s title suggested, ‘Uncharted’ at Kings Place was very much a trip into the unknown.