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

Dans le cadre du festival pyrénéen, Lisa Strauss a donné un récital marquant dans la grande salle des Grottes des Canalettes, la veille d'un beau concert de clôture dans l'Abbaye Saint-Michel de Cuxa.

Revenant avec l'écrivain Pascal Quignard sur l'aventure du film d'Alain Corneau, Jordi Savall et ses partenaires ont parfois paru brouillon – mais la soirée n'a pas manqué de charme pour autant.

Pour sa 70e édition, le Festival de Menton s'est ouvert sur la thématique des éléments. À la tête du Concert des Nations, Jordi Savall a proposé une interprétation riche et incarnée.

Malgré un début de concert plombé par une disposition hasardeuse, le concert de Jordi Savall et du Concert des Nations fut un moment de grâce pour les abonnés du Club musical de Québec.

Après 246 ans d’absence, l’Alcione de Marin Maris fait son retour sur la scène de l’Opéra Comique dans une production qui célèbre la tradition et la modernité.

Le Retour de Marin Marais et de Monsieur de Sainte-Colombe : douceur et chaleur de la viole de gambe dans un écrin musical exquis, brodé de violon, théorbe, clavecin et guitare baroque.

La venue de Jordi Savall à la salle Pleyel est toujours un événement très attendu. Lundi 7 avril, il donnait avec son ensemble Le Concert des Nations un programme sous-titré « Tempêtes, Orages et Fêtes marines (1674-1764) ».

Mit gewohnten Non-plus-ultra-Fähigkeiten stemmen a nocte temporis, Solisten und der Chœur de Chambre de Namur eine weitere Entdeckung französischer Barockoper.

Crisp and elegant cello and piano playing is more successful in French and early repertoire than in Brahms.

Perth's HIP Company join forces with Sydney's The Marais Project for a charming evening of French Baroque music. 

Jordi Savall explores the music of Maurice Ravel within the context of the French Baroque and beyond. 

La programación de Marcos Históricos del Festival de Santander presentó en Ampuero a La Spagna, que desplegó su saber hacer en un interesante programa en torno al barroco francés.

Music from the court of Louis XIV – Lully, Jacquet de la Guerre, Rebel and others – is superbly played. But the attempt to put it in the context of the dances of the day is perhaps over-ambitious.

Anastasia Kobekina and Cedric Tiberghien treat Wigmore Hall to a night of flair, flitting between their two homelands. 

Un concierto de excelente factura del Ciclo Universo Barroco del CNDM en el que predominó un sentido del dominio de la material musical, un profundo conocimiento de las partituras, además de estupendas individualidades acostumbradas desde hace mucho tiempo a trabajar con el músico catalán.

In each brief and catchy excerpt, the ensemble played with infectious vitality and admirable precision.

Cool new works sit alongside Bach and the baroque

Hespèrion XXI dazzle us with virtuosity as they celebrate musical Europe in the heart of Westminster.

Acompañado de Rolf Lislevand -tiorba y guitarra-, Michael Behringer -clave y órgano- y Philippe Pierlot -viola da gamba baja de 7 cuerdas-, Jordi Savall ha rendido homenaje a una película que, en 1991, sirvió para mucho como pasarela de acceso a las figuras y la música de Monsieur de Sainte-Colombe, Marin Marais o el propio Savall.

A second concert featuring Jordi Savall at the 2018 Perth Festival comprised much reduced forces - just himself and harpist Andrew Lawrence-King - but was just as rich, varied and captivating.

Exquisit und unterhaltsam war, was Jean Rondeau und Thomas Dunford in intimer Atmosphäre aus ihren Instrumenten und den Kostbarkeiten der weniger bekannten französischen Hofmusik holten.

Jordi Savall's returns to 1991 film soundtrack and captivates a full house at St John's Smith Square.

Les Talens Lyriques gave performances of the utmost sophistication and elegance, more than living up to their reputations of masters of this repertoire.

Anlässlich des 300. Todestages des Sonnenkönigs führt das Freiburger Barockorchester dem Publikum royalen Glanz vor Ohren.

Bringing together disparate art forms is no easy task, as Tafelmusik's latest concert House of Dreams sadly proves. 

The Northern Lights Festival takes place in Tromsø, Northern Norway, at the end of January each year. It is predominantly a classical music event, although that forms the core of what is always a very diverse offering, with plenty of jazz and popular music in the mix too.

It seems unfair to describe this as a Jordi Savall concert, when in fact Xavier Díaz-Latorre, introduced as his collaborator, played at least as fundamental a role and provided some of the most memorable moments of the evening.

Question: how do you demonstrate to a sceptical audience that baroque opera seria doesn’t have to be boring? To answer this, the organisers of Sommets Musicaux and David Greilsammer, conductor of the Geneva Chamber Orchestra came up with a programme consisting of four Handel arias interspersed with orchestral passages from French baroque opera, these chosen for their variety and dance-based charac

Jordi Savall is well known to early music lovers, championing the revival of the viola da gamba with a wealth of previously unknown material and appearing regularly in the UK both as player and leader of his three ensembles.

The second in the Proms Saturday Matinee series featured French Baroque music from the period of Louis XIV, performed by Les 24 Violons du Roy and conducted by Roger Norrington. Interestingly, there was some common ground with the Concert Spirituel concert I reviewed earlier in the Proms season in that they were both projects attempting to recreate 18th-century orchestras.

For the past forty years the small town of Oberlin, Ohio, about a forty minute drive from downtown Cleveland and the home of Oberlin College and Conservatory, has hosted the Oberlin Baroque Performance Institute (universally known to attendees and visitors as BPI).

In the clear, warm acoustic of the oval St. Cecilia's Hall, the imaginatively named, local Baroque ensemble, Lord Rochester's Monkey, delighted an afternoon audience with a programme entitled Le Caffé - also the title of the central cantata by Nicolas Bernier (1665-1734).