En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Los Angeles Master Chorale

Reflections of nature and humanity's place within it in Salonen's 2026 return

The world premiere of Ellen Reid's Earth Between Oceans creates a compelling partnership with Strauss' Alpensinfonie. 

A monster Mahler concert at Disney Hall, with guest conductor Earl Lee stealing the show in the Resurrection Symphony.

A memorable, impassioned performance of Arnold Schoenberg’s Gurre-Lieder in Disney Hall. 

Gustavo Dudamel selects a trio of works by Latin American composers for a colorful and extravagant evening at the LA Phil.

John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton. 

The soloists and LA Master Chorale lead the way in a performance of Mozart's “Great” C minor Mass conducted by Zubin Mehta. 

The Los Angeles Philharmonic brought back its Conductor Emeritus, Zubin Mehta, for an outstanding performance of Mahler's “Resurrection” Symphony as part of its 100th anniversary celebrations. 

Mahler's Eighth was the composer’s “gift to the nation”; Dudamel’s performance was a gift to Los Angeles. 

Peter Sellars' dramatised production of di Lasso's Lagrime di San Pietro is stunningly sung by the Los Angeles Master Chorale, but the dramatic element causes problems.

Salonen brings his Stravinsky retrospective to a close with a pair of Greek-inspired scores. 

As a blend of music, song, and dance with a Cirque du Soleil joie de vivre, Buddha Passion was an unforgettable theatrical experience.

MTT was back in Los Angeles for another spell as guest, this time bringing to local audiences one of his specialties of the house. 

Dudamel and the Los Angeles Philharmonic unleash the darkness of Verdi’s late masterpiece Otello upon the picnickers at the Hollywood Bowl. 

The Los Angeles Philharmonic proved that Bernstein's Mass, which had been dogged by critics at its première, has stood the test of time.

Great opera at the Los Angeles Philharmonic as Esa-Pekka Salonen conducted Debussy’s Pelléas et Mélisande as part of the City of Light, a retrospective that examines works seen in Paris during the first half of the 20th century. 

Gustavo Dudamel conducts the Los Angeles Philharmonic and Simón Bolívar Symphony Orchestra in an "Immortal Beethoven" performance of Beethoven's Ninth Symphony.

There aren’t too many more ambitious pieces of music one could choose to celebrate a birthday than Beethoven's Missa solemnis.

“The most beautiful sound an audience can make,” Dudamel told the expectant masses, “is silence.” They chuckled knowingly. Dudamel’s request was borne out of the obvious production being made of Tuesday night’s performance. The giant boom and manned onstage cameras indicated that the performance was indeed being filmed.

Seeing a classical concert at the Hollywood Bowl is always an event. While (to put it kindly) it is not the ideal acoustic for classical music, the iconic venue is surrounded by glowing hills and always seems to have perfect weather.

Even Emperor Josef II would have thought this was a bad idea. The real-life monarch depicted in Peter Shaffer’s fictional play Amadeus quite memorably forbade ballet in his court operas. But the absurdity of the dancers carrying on with no music playing in Mozart’s Act III convinced the Emperor that he was in the wrong.

Have you heard the good news? The Los Angeles Philharmonic have recently formed a partnership with the Barbican, and they were strutting their impressive stuff in London last week for their first International Associate Residency. Also: Christ died for our sins and was reborn.

What a stark contrast between the visual and the aural at last Thursday’s concert at the Hollywood Bowl. On stage was the 79-year-old conductor Rafael Frühbeck de Burgos, appearing frail as he shuffled towards the podium; the gauntness of his features accentuated by his suit which hung loosely from his frame.

A mid-19th-century Italian opera with the sound of the human voice front-and-center, and seemingly dependent on the trappings of the theater.

The Los Angeles Philharmonic, under the direction of Gustavo Dudamel, brought its season to a close with a world premiere of an oratorio the orchestra commissioned from one of today’s greatest living composers. On paper the alignment of the LAPO, Dudamel, and John Adams appeared to augur well for a memorable close to a season abounding in memorable music-making.