Rechercher des critiques de musique classique, opéra et ballet | Peter Eötvös

L’Orchestre de Paris s’adjoignait mercredi la violoniste Patricia Kopatchinskaja pour un concert consacré à deux maîtres de la musique hongroise : Béla Bartók et Péter Eötvös, au pupitre de direction ce soir.

Retour sur un programme retraçant l'histoire de l'Intercontemporain.

Peter Eötvös and the BBC Symphony Orchestra offer a new music and a clever programme for this lively Prom concert. 

Renaud Capuçon shines in Bartók's two Violin Concertos, together with a strong Concerto for Orchestra from the BBCSO and Péter Eötvös, at the Festival Printemps des Arts de Monte-Carlo.

Over 10 years after his death, Karlheinz Stockhausen still occupies a complex and difficult place in the canon of contemporary composers. This year's Musikfest Berlin featured a Stockhausen focus, of which the "creation ceremony" Inori was the climax.

In a sensational Hungarian double bill of taut psychological drama at Müpa, Péter Eötvös' Senza sangue proves a thrilling partner to Bartok’s Bluebeard’s Castle.

A double bill of operas that were literally made for each other, Péter Eötvös wrote his one act masterpiece Senza sangue in 2015 to act as a partner piece for Bartók's Duke Bluebeard’s Castle.

The Hungarian State Opera offered up a belated Hungarian première by one of its native sons, Péter Eötvös – his 2007 opera Love and Other Demons.

Péter Eötvös conceived his opera Senza Sangue (Without Blood) as a complement to Bartók's Bluebeard's Castle. Dmitri Tcherniakov has now staged and designed Senza Sangue together with Bluebeard's Castle for Staatsoper Hamburg.

The applause and screams at the premiere were raucously frenetic – and while the hysteria seemed a bit exaggerated, an energetically positive reception was completely justified.

The London Symphony Orchestra celebrates Boulez at 90 with a compelling performance under his protege Péter Eötvös.

Péter Eötvös conducts the WDR choir and the Ensemble Intercontemporain in Stockhausen at the Cité de la Musique.

Every now and then I like to experiment. Reviewing a concert in which I know none of the music can be frightening, but also exciting and – always – surprising. Thus I was slightly apprehensive but wholly enthusiastic about attending this LSO concert featuring works unknown to me by Bartók and Szymanowski.

"Con Brio" is a term which demands excitement, strength, and enthusiasm. This evening‘s Toronto Symphony Orchestra New Creations Series concert was based upon exactly these concepts. To kick off the program, Peter Oundjian led the TSO through the Canadian première of Jörg Widmann's concert overture Con Brio. The timpani opened followed by brief grandiose chords.

Arnold Schoenberg rarely forms the backbone of orchestral concerts in either of his two homelands, and in an ideal world there would be more concerts like this, particularly in Vienna.