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

De Rameau à la composition contemporaine, le programme concocté par la soprano et cheffe d'orchestre fait la part belle au spleen et manque parfois d'éloquence.

Au Voces8 Centre, la célèbre soprano entraîne son auditoire dans un voyage de toute beauté, allant de la poésie mystique médiévale aux chants de l’holocauste.

Le Chicago Symphony Orchestra et Riccardo Muti ont montré tout leur savoir-faire dans une soirée Wagner-Hindemith-Dvořák éclatante – quoique parfois clinquante.

Réunis autour de Tabea Zimmermann, les jeunes solistes de l’Académie de Kronberg défendent avec enthousiasme Beethoven et Dvořak. Seule en scène, l’altiste offre une vision poétique d’une Sonate de Hindemith.

Nouvelle production à l'Opéra de Flandre : le trop rare Cardillac de Hindemith, dans l'excellente mise en scène de Guy Joosten. Menée par le superbe Simon Neal, la distribution homogène contribue à la réussite de l'ouvrage.

Après sa tournée européenne, l’Orchestre national de Lyon fait son retour auprès de son public avec un programme mettant à l’honneur le majestueux orgue de l’Auditorium Maurice Ravel.

Proposition étonnante, la programmation des deux oeuvres dans une même soirée fait le pari des contrastes, mais parvient difficilement à se tenir à distance d'un traitement narratif très vertical et moralisateur.

Concert le 10 novembre de l'Orchestre de la radio de Berlin dans la salle du Berliner Philharmoniker. Sous la prestigieuse direction de Marek Janowsky, un impeccable orchestre propose deux pièces de Hindemith puis accompagne dans le 4° Concerto de Beethoven, le relativement jeune et éminent pianiste, Francesco Piemontesi remplaçant Yefim Bronfman souffrant.

An era is drawing to a close in Liverpool, but here Vasily Petrenko makes a greater case for the neglected Franz Schreker than for one-dimensional incidental music by Shostakovich.

Konzertmusik is a showpiece for the sections it involves, but, as this performance demonstrated, its conversational structure brings with it a dry wit and rich dynamic which sets it apart.

Christian Thielemann shows his lighter side, while the Berlin Philharmonic play music they haven't touched in nearly a century.

The Los Angeles Philharmonic under Salonen look back at the dwindling twilight years of the Weimar Republic. 

The Los Angeles Philharmonic under Salonen inaugurates their musical retrospective of Weimar Germany. 

As part of Philharmonia’s the Bittersweet Metropolis strand focusing on the music and culture of Germany in the interwar years, Esa-Pekka Salonen curated an interesting group of works designed to paint a picture of the more serious end of the music world in Berlin.

Union Jack isn't a Balanchine masterpiece – it's more of a fun-sterpiece, which is even better.

Leon Botstein and the American Symphony Orchestra's attempt to position Erich Wolfgang Korngold as a midcentury musical force comes up short.

British cellist Laura van der Heijden proved herself to be the sister of soul on the cello for the second night in succession.

Esa-Pekka Salonen’s exploration of the Weimar Republic captures the seriousness but none of the fun of the turbulent artistic period.

Eine Lanze für Paul Hindemiths Opernschaffen bricht dir ebenso unterhaltsame wie nachdenklich stimmende Inszenierung von Tibor Torell.

This program illustrates the difficulties of a dance company attempting to forge a path forward without the towering vision and talent of its founder.

Korngold's Violin Concerto from Simone Lamsma is delivered with extraordinary deftness and depth, while Rachmaninov's Symphonic Dances thrill under Yan Pascal Tortelier and the Pittsburgh Symphony.

Lamsma is not a household name here in America but her deep sense of commitment may well make her one.

On reaching the second instalment of his Brahms cycle, Vasily Petrenko brings a fresh breath of alpine air to Liverpool, while George Li impresses in Rachmaninov’s ever popular Second Piano Concerto.

The in-house orchestra played out of its skin under Fabio Luisi.

Gemeinsam mit seinem Begleiter Wolfram Rieger gestaltet der Bariton einen Abend für die Freiheit und Menschenrechte.

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

Musiktheater im Revier Gelsenkirchen's new production of Hindemith's meditation on art and politics, Mathis der Maler, draws upon the Ruhr's modern art legacy.

Norwegian soprano Lise Davidsen’s Proms debut was just one highlight in a rewarding programme of Nordic and German music.

Waltzes and Turkish folk dances energise spirited piano duet recital

A sombre programme of four substantial works, part of the LPOs series of concert Belief and Beyond Belief nevertheless had something of showbusiness about it, thanks to the charismatic presence of John Mauceri. 

I cannot sufficiently repeat that Peter Martins’ legacy will be measured by the number of outstanding dancers he has nurtured during his tenure.

Hindemith's opera, based on the life and theories of Johannes Kepler, is impressively realised by the Landestheater

La OSN ofreció el pasado jueves en el Baluarte un concierto diferente y demostró cómo la música es capaz de mover montañas.

On the second leg of its current European tour, the Chicago Symphony Orchestra and Riccardo Muti fail to scale the heights in an acoustically problematic venue.

A firecracker performance by Vladimir Jurowski and the Rundfunk Sinfonieorchester Berlin giving urgency to music composed at a time that echoes our own.

On Friday evening, the first snow cast its veil over my hometown. Despite the frost, Olli Mustonen’s concert at the Turku Concert Hall got people on the move.

Barry Humphries’ Weimar Cabaret – a witty, urbane valentine to the musical culture of Germany in the 1920s and 30s, from the opera house to the concert hall to Berlin’s revues and cabarets.

Pinchas Zukerman celebrated the 45th anniversary of his Cleveland Orchestra debut with Mozart’s “Turkish” concerto.

Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns. 

Spanish conductor Jesús López Cobos’ debut appearance with the BBC Philharmonic produced some wonderful results with a thoughtful and widely-varying programme of twentieth century music.

Dance, when fulfilled by such artistry as seen this evening, requires no embellishment. 

An exciting rendition of Brahms Second Piano Concerto in the first half was offset by a less than engaging rendition of Hindemith's Symphony: Mathias der Maler in the second. 

Familiar works of Mozart and Beethoven were paired with pieces by Hindemith and Prokofiev for an eclectic program. 

Baritone Jaakko Koretkangas and pianist Nino Gvetadze prove the stars of an evening of great variety ending with a thrilling scene from an obscure Hindemith opera.

Cardillac has a spooky, sinister fascination that both intrigues and horrifies and which is quite successfully expressed in this striking production by Sven-Eric Bechtolf.

At the Estonian National Opera, Vilppu Kiljunen's staging of Hindemith's crime opera Cardillac is wonderfully eerie. Unfortunately, conductor Vello Pähn's reading of the score doesn't do it justice.

Dvořák’s “New World” Symphony and Hindemith’s Konzertmusik round out a very satisfying concert.

Zurich Ballet performs works by three of the twentieth-century's most foregrounding choreographers: Balanchine, Van Manen and Kylián