En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | The Sixteen

Mardi 1er juillet était donné à la Chapelle royale de Versailles un programme intitulé “Gloire à Dieu et au roi d’Angleterre”. Six œuvres de Haendel étaient interprétées par The Sixteen, dirigés par Harry Christophers : le Dixit Dominus, les Coronation Anthems et l’ouverture de Jephta. Un concert plaisant.

Harry Christophers and The Sixteen refresh their choral pilgrimage with works old and new, that show innovative programming at its imaginative best. 

The Sixteen offer glorious tones, smooth polyphonic lines and vivid word paintings at the National Concert Hall. 

The Sixteen’s work is spoilt by a shortage of violins and some uneven solo contributions. Such imperfections only serve to highlight the excellence of the very best. 

The latest instalment of Kings Place's “Sound Unwrapped” series delivers wonderful musicianship in both jazz and early music, but not the promised “continuous fusion of styles”.

How do you conduct the same over-familiar work for the 200th time, and make it sound quite new?

This well devised programme brought out the best of The Sixteen in first rate performances under the charismatic Harry Christophers.     

The Sixteen contribute intimate Music for Reflection to Voces8's Live from London series.

The Sixteen's 40th anniversary choral pilgrimage mixes Tudor music from the treasure trove of the Eton Choirbook with music that hadn't been written when the group were founded, including a striking new work by James MacMillan.

La fama de Handel, vinculada habitualmente con el Mesías, su hito más sobresaliente, no debe conducir a un olvido del resto de oratorios que nutren su catálogo, en el que, según pudimos atestiguar anoche, Israel en Egipto también merece un lugar privilegiado.

The Sixteen enchant the audience in Sydney with an intelligently-created programme of British composers.

The Sixteen's Choral Pilrimage dissolves the boundaries between old and new, sacred and profane with striking performances of music by Cornysh and Britten. 

The Sixteen y Harry Christophers emocionan con un programa dedicado a la música de la Capilla Sixtina en los siglos XVI y XVII

MacMillan’s Stabat Mater receives its Scottish première with The Sixteen and the Scottish Chamber Orchestra under Harry Christophers.

The Sixteen launched us into the final days before Christmas with a well-thought out and diverse combination of songs on The Three Kings.

The Sixteen, augmented by alumni of Genesis Sixteen, proved to be the perfect instrument for Pärt, but lacked personality in Bach.

A magical, brilliantly conceived programme of Byrd, Tallis and Arvo Pärt

Under the baton of Harry Christophers and direction of Penny Woolcock, Streetwise Opera, The Sixteen, Sixteen Orchestra, backed by a number of Manchester-based organisations came together to bring a well-crafted Easter dramatisation of one of Johann Sebastian Bach’s seminal oratorios. 

Engaging, passionate and life-afirming: Harry Christophers' group The Sixteen give a memorable rendition of Monteverdi's Vespers 1610

Is Allegri's Miserere really the most famous choral work of all time? Harry Christophers and the Sixteen offer a significantly altered version of this work, in a programme otherwise devoted to the religious music of Palestrina and Macmillan.

The Sixteen's tour of Monteverdi's Vespers nears completion with an absorbing rendition at Guildford Cathedral. 

Massive pieces of Tudor polyphony, sung with captivating intensity by The Sixteen and Harry Christophers as their 2014 Choral Pilgrimage comes to Durham Cathedral.

As part of the Muziekgebouw’s 2014 Choral Series, renowned chamber choir The Sixteen gave a passionate, committed performance of music by Palestrina, Allegri, and modern composer James MacMillan. 

The Sixteen and Opera North Children’s Chorus close Spitalfields Music Winter Festival in sparkling fashion with Poulenc and Britten.

At one point in the classic 1950 film All About Eve, the inimitable theatre critic Addison DeWitt speaks reverently of his art as critic: “I have lived in the theatre as a Trappist monk lives in his faith. I have no other world; no other life – and once in a great while, I experience that moment of revelation for which all true believers wait and pray.

The programme notes for The Sixteen’s 2013 Choral Pilgrimage draw attention to how composers have been inspired by the grandeur and beauty of their places of worship and work. In this context, the setting for The Sixteen’s concert in Oxford was more than suitable. Completed in 1200, Christ Church Cathedral is a mixture of Romanesque and Gothic architecture.

The theme of tonight’s concert, revealed the programme notes, was that of “marking time and preserving timeless values” – Christmas being a season that connects the past with the present.

Harry Christophers brought his Sixteen to Manchester for a night of deeply romantic choral music at The Bridgewater Hall. Brahms’ Deutsches Requiem was a foreseeable success, but the seldom-heard Vocal Quartets, settings of Sternau, Schiller, Daumer and Goethe, were a delightful addition to the programme.The first set of Brahms quartets, Op.

By calling this year’s Choral Pilgrimage tour The Earth Resounds and including excerpts from a piece known as the “Earthquake mass”, Harry Christophers and The Sixteen created an expectation of drama and excitement before they’d sung a single note.

The Sixteen’s three appearances in the line-up for this year’s Spitalfields Music Festival showcase the breadth of their repertoire. On June 15 and 16, they will premiere Alan Roth’s new musical setting of Beckett monologues, Old Earth. First, on June 9, was something altogether more familiar.

This year, The Sixteen’s Choral Pilgrimage features the work of just one man, Tomás Luis de Victoria, one of the greatest composers of church music of the Renaissance.

Most known for small scale, intimate performances of Handel's Messiah, Harry Christophers led his Choir and Orchestra of the Sixteen - with a few hundred others - at the Festival Hall last night as part of the 60th anniversary celebrations for the Festival of Britain.

In his introductory talk before The Sixteen’s Choral Pilgrimage concert in Durham Cathedral, conductor Harry Christophers explained that the original idea of their Choral Pilgrimage series was to bring the glories of English church music back into the buildings for which the pieces had been written.