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

Le double concert de l'Académie Voix Nouvelles a donné lieu à de splendides découvertes dans le vaste réfectoire des moines de l'abbaye, en ouverture du Festival de Royaumont.

Does opera have room for film? And live video? Multiple screens and advertorials? And allusions to onscreen identity and cyber-immortality?

Werke von Richard Rijnvos und Enno Poppe rauben dem Amsterdamer Publikum den Atem.

Michel van der Aa zwingt das Publikum, sich mit der zukünftigen Möglichkeit, ewiges Lebens mittels AGI zu gewinnen, auseinanderzusetzen.

Vier Komponistinnen und ein Komponist zelebrieren die unendlichen Möglichkeiten ein neugieriges Konzertpublikum herauszufordern und zu begeistern.

An evening of frivolousness and solemnity.

Under the direction of Heiner Goebbels, Ensemble Musikfabrik’s twenty-two multifaceted percussionist-vocalist-actor musicians executed an industrious performance of Partch’s magnum opus, The Delusion of the Fury.

Klang in Zeit und Raum: Die Uraufführung von Karlheinz Stockhausens Carré begeistert beim Eröffnungskonzert der Darmstädter Ferienkurse.

In the world of concert music, it is a rare privilege to witness the first ever performance of an instrument in Britain, let alone a whole host that have been specifically created for a piece of music. A stage full of weird and wonderful creations took over the Colston Hall for one of the most surreal concerts I have ever attended.

If there were a gold medal for programming at Musikfest Berlin, it would go to last night’s concert with the RIAS Chamber Choir, Ensemble musikFabrik, and a host of other musicians, gathered under the baton of James Wood.

What drew John Cage and Frank Zappa into the same programme was their mutual admiration of Edgard Varèse, at its most striking in their use of percussion. Somehow I feel Cage would have been delighted to be the one out of step with an otherwise perfectly symmetrical programme. Flanking the interval were performances of Varèse’s Ionisation (1929–31).

My preparations for a Thursday evening trip to Lincoln Center: studying the super-formula of Stockhausen’s 29-hour opera project, entitled Licht; choosing an outfit in the perfect shade of cerulean; girding myself for a panic attack similar to the one I experienced the last time I witnessed a section from Licht (Oktophonie).