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

Une bien belle soirée qui offrit au public « The Infant Minstrel and His Peculiar Menagerie » plein de malice et de jeunes talents vocaux, un Vadim Gluzman Royal et un Orchestre de la Suisse Romande rutilant sous la baguette inspirante d’Edward Gardner.

The Philadelphia Orchestra's principal guest conductor offered a typically diverse program of Stravinsky, Peter Lieberson and Lera Auerbach.

The trio gave a flowing, elegant reading of the “Archduke” in which the three fast movements were brought into line with the golden glow of the theme and variations.

Now entering his second season as Chief Conductor of the Deutsches Symphonie Orchester Berlin, Robin Ticciati is keen to show the breadth of his repertoire and the extent of the orchestra’s abilities. 

Twenty-first century Stockholm or fin de siècle Paris? Works by Ravel, Debussy and Schmitt take the audience back to the times of the French avant-garde.

John Neumeier’s 2005 ballet The Little Mermaid is an exquisitely layered story, told with profound psychological insight, and a burning intensity.

The New York Philharmonic brought two works to the stage at David Geffen Hall last week; their extremely polished rendition of Lera Auerbach's violin concerto contrasted starkly with their under-rehearsed Mahler.

Regarded by fellow musicians as one of the most promising young ensemble, the Delta Piano Trio have made a name for themselves with their raw, uncompromising musicianship, their energy and a willingness to invest oneself beyond comfort.

Prom 22 was a surreal evening of music, centered around the UK première of Auerbach’s The Infant Minstrel and His Peculiar Menagerie.

With a programme spanning from Bach through Schumann, Cage, all the way to Lera Auerbach and David Lang, Hilary Hahn shows she is on top form alongside pianist Cory Smythe.

In celebration of its 55th anniversary this year, the National Ballet of China revived its beautiful production of John Neumeier's The Little Mermaid. 

Imagine waiting for a long time. You can’t see anything, so you can’t entirely trust your unfamiliar surroundings. Imagine heightened senses: sounds with sharper edges, drafts of air crawling across goosebumped skin, scents stretching out to you in the darkness. Imagine an opera in which the performers can watch the audience rather than the other way around.

Before writing a note of Gogol, composer Lera Auerbach immersed herself in the writer’s complete works and over twenty books written about him. It would take similar efforts to begin to understand this opera: taking us inside the fevered mind of its title character, Gogol is less a biographical narrative set to music than a phantasmagorical, psychological investigation.