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

François Dumont, Shani Diluka, Éric Le Sage, Juliette Journaux et Vincent Mussat se sont succédé sur la scène de Radio France pour un marathon riche et contrasté.

Dans un one woman show décapant qui alterne pièces de musique contemporaine, sketchs comico-réflexifs et moments participatifs, la soprano suscite autant de rires que d'admiration.

Merce Cunningham est mis à l'honneur par le Festival d'Automne. À Chaillot, le CCN Ballet de Lorraine et ses directeurs, Petter Jacobsson et Thomas Caley, rendent un bel hommage au chorégraphe américain.  

Un très beau concert à l'Auditorium de Lyon, en compagnie d'Edgar Moreau et de Cornelius Meister, animés par la même volonté de convaincre sans donner dans l’exubérance.

Nouvelle saison à l'Auditorium de Lyon : Cameron Carpenter dépoussière le grand orgue Cavaillé-Col.

Au-delà des gestes, magistralement interprétés, on aimerait retrouver un peu de cette magie qui habite le mouvement,  fait l' âme de la danse. Angelin Preljocaj refuse ici ce voyage, nous ramenant vers le quotidien, et les gestes purs. On adhère ou non à cette vision de la danse.

Forwards? Backwards? Upside down? All three at once? From Machaut to Pärt, Ensemble 360 considers the relationship between musical structures and varieties of mathematical pattern.

Fleur Barron y Kunal Lahiry ofrecieron un recital de obras contemporáneas en diálogo con la exposición dedicada a Warhol y Pollock en el Museo Thyssen-Bornemisza de Madrid.

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians. 

The JACK Quartet frames its recital at Symphony Space on Manhattan’s Upper West Side around the Pierre Boulez centennial. 

Musical cross-pollination came to life in London Sinfonietta’s electrifying performance, in a seamless blend of theatre, history and virtuosic playing.

Silliness can find a place in art, as we see in some of Erik Satie’s work titles, but sometimes it is just silly. 

Patricia Kopatchinskaja and Aurora Orchestra serve up an over-the-top confection at Purcell Room in Southbank Centre. 

One minor Balanchine, elevated by commanding performances; a rare Albert Evans; Peter Martins at his most compelling and Jerome Robbins at his funniest.

Allerlei Parodistisches sowie Subversives, das die Schranken zwischen Alltagswelt und Kunst niederreißt, macht dem Salzburger Festspielpublikum sowie exzellenten Solisten der Camerata Salzburg viel Spaß.

McFaddens ergreifend schöne Melodieführung und Melnikovs schimmernde Klavierfarben machten den Konzertabend zu einem unvergesslichen Hörerlebnis.

Gelungene musikalische Dramaturgie in teils selten zu hörenden Pretiosen zwischen Mahler, Cage und Ligeti.

François-Xavier Roth and the Gürzenich Orchestra tear up the traditional concert programme to celebrate the 250th anniversary of Beethoven's birth. 

Dentro del Ciclo Universo Barroco del CNDM, se presentó el Ensemble 1700 liderado por la flautista Dorothee Oberlinger, que ofreció un virtuoso concierto con un programa inspirado en la noche.

Amala Dianor and CNN Ballet de Lorraine channel the US choreographer in two UK premieres and a Cunningham classic, all brilliantly performed.

Despite the uneven performances, the evening offered a painful reminder: the future of Cunningham's opus is fragile and delicate. With his own company disbanded, his future is in the hands of dancers who are not trained in his technique and did not have the good fortune of working directly with the great choreographer.

Thrilling and spellbinding experimental music for harpsichord and electronics, performed by Mahan Esfahani. 

Since its inception in 1986, the Davos Festival has given a platform to more than 2,080 young artists of promise. This 33rd festival year is no exception. 

Hugo Ticciati and Víkingur Ólafsson explore notions of time, but a lesson in mindful performance comes from the gravity-defying Sanddorn Balance act.  

This program was a good one to inspire your confidence about the future of choreography.

Michael Tilson Thomas and the San Francisco Symphony Orchestra, joined by cellist Gautier Capuçon, presented modern, post-war masterworks in their first of two nights in Stern Auditorium.

A commanding performance of six pieces from as many composers – all either new, nearly new or rare classics. 

I definitely recommend Empty Moves but you have to come to it with an open mind, ready to see something completely different.

Peter Martins's greatest legacy at New York City Ballet is his tremendous eye for talent and it was on full display at this matinee show.

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.

James Levine led the MET Chamber Ensemble through a remarkable performance of Carter's The American Sublime, whose scattered yet distinct clouds of sound evoked the warmth, irony, and philosophical musings of the texts.

Cage hoped that the change from “pinch-penny mental attitudes to courageous wastefulness” would become as prevalent in the arts as it is in nature. Along those lines, his late choral music is spare, seemingly simple: quiet, almost fragile sounds scattered over silences.

Where lies the boundary between musical performance and performance art? With more and more musicians choosing to incorporate digital or multimedia elements into their performances, concerts are increasingly defying easy categorisation.

L'avant-dernier concert de la saison 2014 présente une chorégraphie du travail ritualiste de Tan, des interprétations brillantes d'oeuvres pour percussions, et le deuxième Trio pour piano de Chostakovitch.

David Lang’s curated series collected stories drew to a close with three works by John Cage, including his autobiographical lecture Indeterminacy of 1958, performed simultaneously, and the world première of Lang’s own mystery sonatas, the only work of his own to be programmed for the series.

Choreographer and composer duo Jonathan Burrows and Matteo Fargion perform a pair of beautifully bizarre duets involving cows, chaos and Cage. At The Nightingale Theatre, Brighton.

New York City Ballet present Mauro Bigonzetti’s Vespro, Angelin Preljocaj’s Spectral Evidence and Liam Scarlett’s Acheron in New Combinations. At David H Koch Theater, Lincoln Center. 

Silence spoke volumes in this tribute to John F. Kennedy at the Nasher Sculpture Center, Dallas, which contained pieces by Messiaen, Steven Mackey and John Cage.

The centrepiece of Nonclassical’s “Pioneers of Percussion” festival was a rousing marathon of a concert at Scala, a large (mostly) rock venue near King’s Cross. It was a rich, varied, high-energy, happily chaotic affair that lasted into the wee hours of the morning.

The contemporary music festival Milano Musica is this year dedicated to the works of Morton Feldman, a man who professed to be more influenced by contemporary art and Persian rugs than he was by other music. The concert took place in Gallerie d’Italia, a former bank now a contemporary art gallery, and pulled together pieces for violin and piano by Feldman and his American contemporaries.

Irvine Arditti is turning 60 this year, but the real landmark perhaps comes next year, when his eponymous string quartet turns 40. The astonishing amount of good they have done contemporary music in this time deserves a ton of celebration in 2014.

It can be said that New York offers arts enthusiasts an embarrassment of riches. It’s a veritable cultural Mecca.

What drew John Cage and Frank Zappa into the same programme was their mutual admiration of Edgard Varèse, at its most striking in their use of percussion. Somehow I feel Cage would have been delighted to be the one out of step with an otherwise perfectly symmetrical programme. Flanking the interval were performances of Varèse’s Ionisation (1929–31).

Before diving into a performance of John Cage’s Sonatas and Interludes for Prepared Piano, New York pianist Marc Peloquin explained a bit of the background behind the sounds we were about to hear. As the story goes, John Cage was commissioned to write a dance piece in 1938, and was accustomed to working with different combinations of percussion instruments for these sorts of works.

This Sunday, pianist Karim Said returned to the Southbank Centre to put Arnold Schoenberg under the microscope for a third and last time. Performing as part of the International Piano Series 2012/13 and the cataclysmic Rest is Noise festival, Said’s concerts have focused on the genesis of the Second Viennese School.

This past Saturday, I spent five hours in a great big room with a cold concrete floor that was brimming from end to end with sounds and images and people.

On Thursday night, I reviewed the vast forces of National Youth Orchestra, playing big colourful works by European exiles in 1930s America.

While you wouldn’t have guessed from her performance, Margaret Leng Tan did not look happy before she played John Cage’s Four Walls in the Barbican Centre’s Art Gallery this Thursday.