Rechercher des critiques de musique classique, opéra et ballet | Ryan Wigglesworth

The Knussen Chamber Orchestra with Ryan Wigglesworth debuts at the Proms with music by Knussen, Birtwistle, Waley-Cohen, Abrahamsen and Putt.

André Barbe and Renaud Doucet's Magic Flute is ideal entertainment for a fizz-filled summer night.

Mark-Anthony Turnage's First World War opera both moves and dazzles at the Barbican.

Ryan Wigglesworth conducts a Huw Watkins première and a grand-scale account of Beethoven’s Ninth Symphony

Affecting Britten, distinctive Elias and popular Elgar, with a curio of arranged Purcell thrown in, from Ryan Wigglesworth and the BBC National Orchestra of Wales.

Netia Jones' new production taps into Britten's silvery underworld in a staging dominated by video wizardry which is hypnotically beautiful, but comes at a price.

An operatic take on The Winter's Tale – categorised as one of Shakespeare’s ‘problem plays’ – premieres at English National Opera. 

Mark Padmore's fine Wigmore Hall recital could have borne the title The Fallen Man as two of the works chart the downfall of men, albeit in very different ways. 

Ryan Wigglesworth conducts the Hallé in works by Bach, Stravinsky and Schumann.

Ryan Wigglesworth proves a fine interpreter of not only his own work in his return visit to the City of Birmingham Symphony Orchestra.

Così fan tutte in a 1950s carnival setting. Visually spectacular, and with plenty of laughs. Not everything works, but still worth seeing, especially for Roderick Williams' spivvy Don Alfonso.

Ryan Wigglesworth puts in a sublime performance of Mozart's Piano Concerto no. 9, and Sophie Bevan sings Berlioz's Les Nuits d'Été with Royal Northern Sinfonia. 

Southbank Centre’s The Rest is Noise festival has a number of strands of thought permeating its concerts. It explores the effects of war, sex and sexuality, politics, and race on some of the 20th century’s most important musical output.

Revivals of 21st century operas on the stages of major houses are rarer than hens' teeth, so the Royal Opera were making a strong statement when they announced the revival of Harrison Birtwistle's 2008 The Minotaur, with the original director and much of the original cast.

Carmen has always been in my head as a “pretty” opera: lovely tunes, colourful setting, exotically alluring gypsy brushing up against hunky bullfighter and handsome soldier - not exactly French Grand Opera, perhaps, but a far cry from gritty verismo.

This month the BBC’s Total Immersion series celebrated the 60th birthday of British composer Oliver Knussen. A sensitively devised programme given at the Guildhall School of Music and Drama on Sunday featured five works composed between the 1970s and the 1990s.

While there’s no reason that a children’s opera should be simple or easy, there’s no real need for it to be difficult either. So I was a little confused going into the Barbican’s performance of Oliver Knussen’s brilliant brace of Maurice Sendak adaptations this Saturday, which was surrounded, despite the works’ subject matter, with a slightly unbecoming aura of seriousness.

As the programme put it, Prom 16 had a "distinctly watery" theme. The BBC National Orchestra of Wales took its audience on a trip to the Italian and French rivieras, with a staycation in the form of Hugh Wood's thrilling Piano Concerto. It was a challenging programme, which showed in the orchestra's playing more than once, but it was nevertheless an enjoyable experience.

Where could be more appropriate to see the story of Caligula, Rome’s most notorious emperor/self-proclaimed God, than in the Coliseum! Its purple SPQR livery made the opening to this performance all the more striking as Caligula, dishevelled, unhinged and not a little scary, crept on stage through the curtain in dead silence.