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

À la Fondation Vuitton, le pianiste propose un programme audacieux ficelé autour de l’italien Sciarrino, du britannique Thomas Adès, de Neuburger en personne, pour finir avec la figure tutélaire de Boulez. 

Mettant la musique pour deux pianos à l'honneur, le concert de Thomas Adès et Kirill Gerstein nous offre un panorama de ce genre aux multiples facettes, qui culminera dans la Valse de Ravel et une création européenne de Thomas Adès.

Pour ce programme pour le moins éclectique, l’ONCT accueillait le très jeune mais non moins talentueux chef américain Joshua Weilerstein et la violoniste soliste lettone Baiba Skride.

The LSO is reunited with its Music Director for the first time since lockdown for a moving performance from the Royal Albert Hall. 

In his Zankel Hall recital, Gerstein underlined with purposeful clarity the fecundating power of just a few thematic ideas.

A performance Vaughan Williams' Job to truly cherish, with Manze using all his experience to produce a mature and thrilling account of this masterpiece.

Under Alan Gilbert’s baton, Kirill Gerstein presented the very recent piano concerto of Thomas Adès on an otherwise conservative program of Bach and Brahms.

Mit Gerald Barry und Thomas Adès stehen zwei Opernkomponisten am Amsterdamer Programm, die für ihre tiefsinnige Musik bekannt sind.

Richard Tognetti’s absorbing programme mixed Bach’s Goldberg Variations with Stravinsky and Adès, played impressively and with characteristic exuberance and finesse by the Australian Chamber Orchestra.

The second Dance@TheGrange builds on its reputation for fearless programming, with performances from Company Wayne McGregor and Ballet Black, and a standout new work by Ballet Black's Mthuthuzeli November

The Aurora Orchestra and Collon engage audiences new and old with infectiously joyful Mozart and intensely virtuosic Adès, with Pekka Kuusisto.

An affectionate Trout played by long-standing colleagues and friends from Royal Northern Sinfonia, along with Imogen Holst's Phantasy Quartet and Thomas Adès's fascinating Piano Quintet. 

Inferno, after Dante's Divine Comedy, is a 46-minute ballet score rich in astounding, ingenious, sumptuous effects with a particular genius for unlikely combinations of instruments, and only a few obvious Lisztian references.

Das Gewandhausorchester stellt in der umjubelten europäischen Erstaufführung von Thomas Adès' Klavierkonzert seine musikalische Kompetenz für die Stilrichtungen von Beethoven bis ins 21. Jahrhundert unter Beweis.

The concerto is not only a dance with tradition, it’s a dance between Adès and his frequent collaborator and friend, Kirill Gerstein.

Kirill Gerstein’s broad pianistic expertise impresses in a mixed programme at Wigmore Hall.

A programme of late Haydn, Beethoven and Schubert explores music at the limits.

Commendably fine playing from the LPO conducted by Thomas Adès, and with Kirill Gerstein as soloist, three less than familiar works throw up overwhelming volumes of energy.

The title of the latest programme by the Australian Chamber Orchestra is simply: Goldberg Variations. While Bernard Labadie’s ingenious arrangement of JS Bach’s Goldberg Variations for string orchestra takes up all of the second half of the programme, the first half was no less interesting.

Teztlaff’s ability to bring freshness and an enchanted inner life to even the most trodden of musical works is unsurpassed.

Mit Steven Isserlis und Nicolas Hodges zeigt die Britten Sinfonia in Amsterdam ein modernes und leichtfüßiges Konzertprogramm.

Der österreichische Klarinettist Wenzel Fuchs besticht bei Mozarts Klarinettenkonzert mit seinem samtweichen Ton.

Glistening performances by the London Philharmonic Orchestra and combined forces under Thomas Adès bring to life Stravinsky’s Perséphone, with fiery premières of works by Adès himself and Gerald Barry.

La temporada de la Sinfónica de Galicia volvía a dirigir su mirada hacia la música compuesta en los últimos cien años. Dima Slobodeniouk elaboró un atractivo programa conformado por tres obras relativamente infrecuentes y pertenecientes a mundos sonoros muy dispares, pero en los tres casos con un sello propio e inconfundible que tanto el director como los músicos realzaron brillantemente.

Unter der Leitung von Clemens Schuldt präsentiert das Kammerorchester ein abwechslungsreiches Programm von Mozart bis Adès.

Top accolades go to soprano Mary Plazas, whose Duchess was at once despicable for her sense of entitlement and her racist and anti-Semitic views, and heartbreakingly vulnerable with her realisation at the end that "the only people who were ever good to me were paid for it".

Three works performed by the Philadelphia Orchestra and Yannick Nézet-Séguin included few novel musical ideas relative to their lengths.

Adès opera resists explanation, and the ambiguity of the story drives much of its compelling nature. 

This was the second of Bernard Haitink’s Barbican appearances with the London Symphony Orchestra mostly drawing on the Austro-German orchestral tradition in electric and efficient perfromances. 

Simon Rattle returns to the UK in a (self-)portrait concert with the London Symphony Orchestra showcasing contemporary music

Since the days of Charles Munch and Serge Koussevitzky, the Boston Symphony Orchestra has always excelled in rendering the characteristics of the French musical idiom. 

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

Thomas Adès conducts three pieces on the subject of death, concluding with his own Totentanz. Despite the lugubrious subject matter there was a great sense of joy in the music making.

Evocative new works by Adès and Coll were performed thrillingly and provocatively by the Britten Sinfonia as they brought fizz and clarity to Beethoven's eighth and Prokofiev's "Classical" Symphony.

Thomas Adès’ Powder Her Face has plenty of sex written in, and West Edge Opera's production adds even more. But it's the music and drama that sell.

Mit viel Zuspruch belohnte das Publikum der Salzburger Fespiele Thomas Adès, Tom Cairns und alle Musiker für eine stimmige und spannende Uraufführung. 

For his only appearance this season at The Cleveland Orchestra's summer home, Franz Welser-Möst led scintillating performances of scandalous Adès, Bartók's Music for Strings, Percussion and Celesta, and Beethoven's "Eroica" Symphony.

Hungarian State Opera mount a successful première of Thomas Adès's take on Shakespeare, with the show stolen by Laure Meloy's Ariel.

“If music be the food of love, play on, give me excess of it.” There was certainly plenty of Shakespeare-inspired music on the bill for the London Philharmonic Orchestra's celebration of The Bard. 

A new work by Anthony Cheung based on the Orpheus legend and thrilling excerpts from Wagner’s Götterdämmerung rounded out this week’s program.

That Thomas Adès is a force of musical nature was demonstrated again in this passionate concert that made up the second part of his Composer Focus with the LSO.

Thomas Adès, in the first concert of his mini Composer Focus with the LSO, conducted three of his own works and one by Brahms at the Barbican.

The Sadler’s Wells Sampled evening had the whole building buzzing and dancing with a show of bite size dance appetisers for all tastes and also includes several extra activities.

The BBC Philharmonic brought us a fascinating programme of intriguingly juxtaposed perspectives from the old world and the new, before a heartfelt return to the European tradition.

Presenting a cello—piano recital of mostly Gallic works spiced up with a contemporary British composition might appear counter-intuitive to most musicians. Not so to Steven Isserlis, who performed an unusual, challenging, inspiring and highly satisfying concert with pianist Connie Shih in Sydney on Monday night.

Ein interessantes zeitgenössisches Werk und starke Bilder - allemal ein Erlebnis.

Two seasons after his Met Opera debut, Thomas Adès is back at Lincoln Center making his conducting debut at the New York Philharmonic, including his own tremendous orchestral work, Totentanz.

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.

The Aurora orchestra chose one of the most eclectic mixes of music that St George’s has seen in a classic music concert inspired by the home, opening the eyes of Bristol to a strange variety of pieces.