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

Avec notamment deux créations mondiales de Tobias Feierabend et José Manuel López-López, le concert d'ouverture du Festival Ensemble(s) a tenu ses promesses.

L’Orchestre de la Suisse Romande, de retour de tournée en Amérique Latine, ravit le public genevois d une Troisième Symphonie de Mahler remarquable. Jonathan Nott aura convaincu le public que Mahler est de retour en terres genevoise par la grande porte.

Dans ce texte d’une portée tellurique, qu’il taille et agence avec autant d’adresse que de respect, impossible de ne pas être subjugué par l’autorité et le tact naturels du chef estonien. Un très grand concert !

L'Orchestre de la Suisse Romande, entre individualités merveilleuses et manque de nuance généralisée! 

Ryan Bancroft’s LSO programme, inherited from Simon Rattle, mixes attractive English folksong-inspired pieces with more challenging, late 20th-century works.

Jordi Francés encandila al Auditorio Nacional junto a la Orquesta Nacional de España con un repertorio a medio camino entre la modernidad y la tradición.

Bernstein, Chindamo and Rachmaninov bring an evening of jazz-inspired music from the streets of New York to a deeply personal Russian symphony. 

Gustavo Gimeno leads the Toronto Symphony in a programme of absorbing musical abstraction and storytelling, let down by a banal new trombone concerto.

A Tan Dun trombone concerto and a Joel Thompson world premiere combine varied influences in novel combinations, along with a lackluster Mendelssohn symphony.

The National Symphony Orchestra play a miniature by short-lived French composer Lili Boulanger and the European premiere of Joe Chindamo's trombone concerto. 

A blinder of a first half, but Aurora score an own-goal in the second with Anna Meredith's Anno. 

La Orquesta de Extremadura, Toni Lloret y Miguel Romea construyeron con robustez e impetuosidad la monumentalidad escandinava de Svendsen, Grøndahl y Sibelius.

Conducting a programme of mostly 20th-century classics that could have come from his early glory days in Birmingham, Rattle was in his element.

The Chineke! Orchestra always aims at mixing the old and familiar (Beethoven, Ravel) with lesser-known corners of the repertory (Coleridge-Taylor, Walker). Anthony Parnther conducts with Kenneth Thompkins as soloist.

Das Ensemble Insomnio fasziniert mit Werken von Francesconi bis Van der Aa.

Rarely has so distinguished a group been assembled to give this work live; it would have shone as a highlight even in a normal year of visiting foreign ensembles and performers.

JoAnn Falletta and the Buffalo Philharmonic's string players present intense Shostakovich and luminous Arensky in memorable performances.

Dagmar Manzel und Vladimir Jurowski sorgen für einen schauspielerisch und musikalisch großartigen Abend.

Im Portraitkonzert wurden kammermusikalische Werke Unsuk Chins aus den Jahren 1991 bis 1995 gespielt, die in der Instrumentierung eine überraschende Bandbreite forderten.

Der helle durchdringende Trompetenklang des Solisten Anders Nyqvist bildete den roten Faden durch oft drohende Ensemblebegleitung.

The performers in Part 1 of aus LICHT at the Holland Festival are amazing, but the production doesn’t rev up until the Archangel Michael goes on his dizzying world tour.

El repertorio, particular y novedoso, inició aludiendo musicalmente a la muerte y poco a poco condujo al público a momentos mágicos que permitieron recordar que la vida es un instante frágil y fantástico.

The evening left you in no doubt that in Donnerstag aus Licht is more approachable than many would imagine, as well as being a major creative achievement that is crying out to be explored by opera houses.

John Casken's intriguing new work for trombone and orchestra presents a musical interpretation of a Michelangelo drawing, along with superb Mozart and powerful Prokofiev. 

Higgins never forgets that the concerto form has a playful element

Some 15 minutes long, in a slow-fast-slow form, Le Tombeau de Napoléon wraps a taxing solo part for tenor trombone in a dramatically compelling and sonically thrilling orchestral canvas.

There were memorable moments, as Noseda continued his advocacy of Sir James MacMillan and Shostakovich symphony cycle. Yet Noseda’s maximalist approach had its costs, as it was only in the opening Kodály that found Noseda at his best.

Bei den Metamorphosen waren die leisen Stellen total verinnerlicht, und in den intensiven Partien schien das Klangbild demjenigen der vollen Besetzung in nichts nachzustehen.

Spanish composer Elena Mendoza presents a hermetic piece of contemporary theatre that is at the same time a disappointing opera and a worthy musical exploration of literary universe of Juan Carlos Onetti

Carl Vine's Five Hallucinations received its world première with dedicatee and CSO trombonist Michael Mulcahy. Gaffigan's diverse program also included a Franck tone poem and Prokofiev's Cinderella.

Tan Dun, Keiko Mitsuhashi, and the Tokyo Philharmonic deliver an homage concert to Toru Takemitsu, utilizing orchestral music as a “garden” and a “theatre."

Playing repeatedly in my mind as I walked home on 24 July was the spine-chilling orchestral performance of the "Dance of the Knights" from Prokofiev’s Romeo and Juliet in the Franz Liszt Academy’s superb Solti Hall.

Im Nachhinein dominieren in diesem Baseler Stockhausen-Revival die Impressionen des dritten Aktes und damit die Erinnerung an eine reichhaltige Komposition, ausgezeichnete Sänger und ebensolche Instrumentalisten.

Christian Lindberg conducts the RLPO in the premiere of his own Robot Gardens alongside music by Bernstein and Nielsen

Being a chamber orchestra doesn't stop Royal Northern Sinfonia and guest conductor-performer Christian Lindberg from tackling Wagner and Sibelius. 

 The Bozzini Quartet confronted the challenges of Lucier's music with confidence and precision, their dedication evident in their effort to bring various acoustic phenomena to fruition.

Dvořák’s “New World” Symphony and Hindemith’s Konzertmusik round out a very satisfying concert.

The Orchestre Metropolitain’s Scandinavian Escape brought to mind the warmth and familiarity of home in this Sunday concert. 

Not painting by the numbers: with a trio, a pair of quartets, and an octet, the Seattle Chamber Music Society offers more than the sum of its parts.

Arcomis is a Cardiff-based organisation concerned with the promotion and commissioning of new music. Modest yet effective, most of their work is at an essential grass-root level, yet, seemingly out of nowhere, they have conjured an incredibly bold and wide-ranging three-day festival of brass based at Cardiff’s St David’s Hall, the Cardiff University Music Department and the Royal Welsh College of

I must admit that Bach through Brass, as this concert was entitled, filled me with a certain amount of trepidation. Bach, on instruments for which the music in the programme was not designed, on instruments which were not even around in Bach’s time (at least not in their modern-day form), did not sound immediately appealing; nevertheless, something drew me in, and I was pleasantly surprised.

Gianandrea Noseda, principal guest conductor of the Israel Philharmonic and former chief conductor of the BBC Philharmonic, made his Cleveland Orchestra debut this weekend in works by Rachmaninov and Prokofiev, and the Cleveland première of Nino Rota’s Trombone Concerto, with the orchestra’s principal trombone Massimo LaRosa as soloist. All concerned turned in solid performances.

When I collected my ticket for this evening’s Late Mix concert in Hall Two of The Sage Gateshead, I was somewhat surprised to see it marked as unreserved seating. A computer glitch, I thought, until I walked into the hall and found that the usual rows of seats in this small, in-the-round auditorium had been replaced with café-style tables and chairs.

They say you should never meet your heroes. But they don’t say anything about them meeting each other, so I had very little idea of what to expect at Kings Place on Monday night when comedian Stewart Lee performed John Cage. In the event, this was a hugely enjoyable short recital, though I do wonder if it wasn’t a bit funnier than should really be expected from a Cage gig.

To judge by the continued chatter, no-one noticed 100 metronomes on stage being set in motion, signalling the beginning of György Ligeti’s Poème symphonique (1962). Even when the lights were dimmed it only dawned on people slowly that the concert had actually already begun.