En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | John Mark Ainsley

Mercredi 13 janvier 2016, l'opéra de Haendel Partenope était proposé au TCE par Il Pomo d'Oro, dirigé avec une grande sensibilité par Maxim Emelyanychev. Parmi la distribution vocale de rêve, Karina Gauvin et Lawrence Zazzo. Résultat : un merveilleux moment de plaisir !

En ouverture de leur saison et préfigurant la célébration des 250 ans de Mozart, le Classical Opera, offrait au Barbican un concert de l’inachevé. Un programme monumental et une interprétation fidèle, pour un rendu presque trop soigné.

An old instrument, a veteran star singer, and a late rose all bloom at Oxford's annual songfest.

Handel's Tartar-Ottoman drama Tamerlano gets a majestically beautiful, if not wildly dramatic, outing at the Barbican with Il Pomo d'Oro. 

Maxim Emelyanychev conducted the period orchestra Il Pomo d’Oro in Tamerlano at the Concertgebouw, an enjoyable performance of Handel's darkest opera. 

An unusual programme of music from the Bournemouth Symphony Orchestra, viewing the passing of youth through a lens of nostalgia and sadness but, at the same time, also dreaming of the sheer joy and exuberance of youth.

The Teatro Real crowns his Britten cycle with a canonic War Requiem conducted by Pablo Heras-Casado and superbly sung by John Mark Aisnley and Jacques Imbrailo. 

Mark-Anthony Turnage's Passchendaele, his WWI-themed piece, received its UK première this evening, in a concert given by the CBSO Youth Orchestra. 

Rattle, the OAE and the Choir of the Enlightenment provide an uplifting and inspiring account of Haydn's Creation. 

Handel's Tamerlano seduces the Versailles Opéra audience in a concert performance.

Richard Jones' new production of Rodelinda for ENO has some very good singing, but suffers from a production that refuses to take the opera seriously.

Billed as a “concert hall staging”, the Academy of Ancient Music’s season-opening performance of Monteverdi’s L’Orfeo was brilliantly staged at the Barbican by the director Orpha Phelan and designer Caroline Hughes – as close as one could get to a full production in a concert hall without a pit.

This second of two SCO Britten centenary concerts saw its subject juxtaposed with two living British composers and Mozart. Cynics might consider the closing Symphony no. 40 in G minor (1788) a reward for surviving the rest of the programme’s modernity.

November continues to be a month of poppy art, despite Philip Larkin’s derisory account of “Wreath-rubbish in Whitehall”. As the only flower to survive the ravished soils of the trenches following the First World War, the poppy is replicated in the form of a paper badge to be worn yearly in commemoration of 11 November, the Armistice Day of 1918.

Written in the late 1740s, Judas Maccabaeus was a clever attempt by the ever-wily Handel to capitalize on recent successes, both his own – in the form of the now-established oratorio concert – and that of the nation, in the wake of the recent victories over Bonnie Prince Charlie’s Scottish rebels.

This was the first concert of Oxford Lieder's new season, and setting the bar pleasingly high for those who will come after was the partnership of tenor John Mark Ainsley, veteran of concert and opera stage alike, and Roger Vignoles, a name synonymous with the highest levels of professionalism in the accompaniment of song.

The last production I saw of L’Orfeo explored the idea of music as a manipulative force, suggesting disturbing consequences to the docility it can engender. Director Claus Guth is less concerned with Orfeo the musician, and makes minimal acknowledgement of the work’s pastoral and mythic elements.