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

Combining operatic grandeur with intimate grief, Markson, soloists, the NSO and NSC deliver a masterful performance of Charles Villiers Stanford's Requiem. 

Conor Hanratty's humorous production is a triumph from beginning to end, a must see at this year's Wexford Festival. 

Much loved core repertoire is juxtaposed with seldom heard works by anniversary composers Holst and Stanford. 

Gerts conducts a sublime Brahms 4 while Carol McGonnell gives a lively rendition of Stanford's Clarinet Concerto in A minor. 

The City of Birmingham Symphony Orchestra and University of Birmingham Singers revel in the ecstasy, majesty and glory of Stanford’s Requiem. 

An exquisite evening of British 20th-century choral music from Tenebrae under Nigel Short at the Sydney Festival, with outstanding renditions of the music of Parry, Bingham and Stanford.

Jackson galvanises the RTÉ NSO for Stanford's Irish Symphony in the second half while the first half showcases works by Brian Boydell and Ina Boyle. 

Buckley's half-hour-long piece had the organ pouring forth volumes of notes in a molten flow of sound.

The tone was set for a shrewdly programmed hour of contrasts.

Charles Villiers Stanford's The Travelling Companion is performed at Cadogan Hall by New Sussex Opera. 

The perfect invitation to daydream on a hot afternoon. 

A pleasant afternoon's entertainment with grand sweeps and some beautiful singing by Roderick Williams.

Songs of the Sea, the opening concert of the Leeds Lieder Festival, leaves the audience in a happy and buoyant mood.

Madrigals and Folksongs: the King's Singers entertain and delight in a progromme spanning 400 years with glorious singing. 

The bicentenary of Richard Wagner’s birth is inescapable, and it comes as no surprise that, however brief their offering, an institution as august as the Huddersfield Choral Society (HCS) could not allow the moment to pass without taking advantage of the opportunity to perform one of Wagner’s most impressive choral outbursts – “Wacht auf! Es nahet gen den Tag” (Awake! the dawn of day draws near) f

Unless you’re actually performing it liturgically, it’s very difficult to know what to do with sacred music these days. The masses of Palestrina, the motets of Byrd, the cantatas of Bach – all seem to merit our attention today, but not for the religious reasons for which they were originally written.

The anthems and service settings of Charles Villiers Stanford form part of the core repertory of Anglican choral music; from the grandest cathedrals to the smallest parish churches, it’s probably safe to say that on any given Sunday, you will find Stanford’s music being sung somewhere.