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

En musique comme dans tout langage, un certain tropisme opère, avec son lot de lieux communs rassurants. On attend d’une formation américaine une certaine fraîcheur, et d’un chef vénézuélien, une chaleur trop souvent absente sous un climat tempéré. Il n’y a pas eu tromperie sur la marchandise. Gustavo Dudamel et le Los Angeles Philharmonic nous ont offert tout cela.

Stepping in for Daniil Trifonov, the Ukrainian-born Israeli parries and thrusts in Korngold's Violin Concerto, the highlight of Gustavo Gimeno's Proms debut. 

Four works – one new, two older and a PNB premiere – display the company in all its imaginative versatility and fine technique.

In a passage through filmic history in the search of monstors and heroes, the Bournemouth Symphony Orchestra explored contemporary film and game music.

Taken at face value and ignoring its shortcomings, The Red Shoes still succeeds as entertainment.

Matthew Bourne is a master at creating theatrical splendor with the aid of a very healthy budget, an amazingly talented production staff and cast of dancers. His new ballet The Red Shoes is a set designer's dream.

This unusual program had the unlikely pairing of Schoenberg's Piano Concerto and Gershwin's Rhapsody in Blue, for which Kirill Gerstein was a brilliant soloist. 

Mathhew Bourne's The Red Shoes seduces London as it opens at Sadler's Wells

It takes artistic courage to devote almost a whole concert to music associated with cinema, but then Richard Tognetti, the artistic director and concert master of the Australian Chamber Orchestra, never lacked creative thinking or musical audacity. 

The Royal Philharmonic Orchestra under the baton of José Serebrier concoct images of iconic movie scenes in audiences' minds in a concert of classic film scores. 

Hitchcock’s Norman Bates meets Bartók’s death defying Miraculous Mandarin, by way of Schoenberg angular 12-tone Piano Concerto - with the odd man out being Gershwin's Rhapsody in Blue. 

At the second screening of three, the British Sinfonietta provided a live accompaniment to an Alfred Hitchcock 1960s masterpiece. Psycho Live! was a chance to see the powerful effect of American composer Bernard Herrmann‘s motion picture music played by a real orchestra.

The reason for this all-American programme was ostensibly pragmatic: the concert was to coincide with the opening night of the British-American Business Council annual conference. In practice, the programme was a triumph. Significantly, dozens of schoolchildren were present to witness an evening of fine and involving music-making.The concert began with Charles Ives’ Variations on America.

This concert by England’s Tippett Quartet, their debut in Canada, was about time. The Quartet came together in 1998, the year of the passing of their namesake, Sir Michael Tippett. Their first musical offering of the afternoon was Tippett’s Fifth and final String Quartet (1991), with Anna Smith filling in for Jeremy Isaac on second violin.