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

An inventive programme frames new music by a genre-defying composer and guitarist in a striking late-night concert.

Glass and Bowie meet again in the concluding chapter of his Berlin Trilogy symphonies at the Royal Festival Festival

A patchy performance by The Chorus of Royal Northern Sinfonia in a concert following the influence of J.S. Bach on later choral composers.

Royal Northern Sinfonia’s performance of Sir James Macmillan’s St Luke Passion had moments of high drama, but one crucial element of the piece was mostly missing. 

The LCO and Actress present tantalizing textures, while new works of placid emotion envelop the senses.

There's classical music, and there's pop. You can throw as many violins into the bridge section as you like, and you can amplify the orchestra all you want as well. It's unfortunate, but a certain divide looks set to stay.

It isn't often you hear six members of the Estonian Television Girls Choir join forces with the Holst Singers and Imogen Heap to perform a live a cappella soundtrack to a 1920s French surrealist film about a libidinous priest. But I am delighted to have seized the opportunity last night, when this bizarre setup hit the Camden Roundhouse as part of this year's genre-baiting Reverb festival.

Reading Gérard Grisey’s programme notes on his masterpiece Vortex Temporum is not the most agreeable experience. The reader is informed that the work is structured around ‘three basic forms’: ‘the original event – a sinusoidal wave – and two continuous events, an attack with or without resonance as well as a sound held with or without crescendo’.