En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jonathan Cohen

Les Violons du Roy ont permis aux mélomanes de Québec de découvrir la mezzo-soprano britannique Christine Rice, qui a ébloui dans un répertoire allant de Purcell à Britten.

Début de saison inégal aux Violons du Roy dans trois magnificats de la famille Bach livrés avec fougue, mais appelant plusieurs réserves en matière interprétative.

Le chef Jonathan Cohen et les Violons du Roy ont offert un agréable concert de fin de saison autour d'œuvres de jeunesse de Mozart, Mendelssohn et Suk.

Une réussite sur toute la ligne pour La Création de Haydn, avec les Violons du Roy et la Chapelle de Québec sous la direction du chef Jonathan Cohen, qui a valu aux spectateurs des moments d'une beauté presque irréelle.

Une rencontre entre deux musiciens au sommet de leur art dans des bijoux de Haydn et Carl Philipp Emanuel Bach.

Dans une rare apparition au Canada, Véronique Gens a séduit le public du Festival d'opéra de Québec avec un programme allant de Rameau à Beethoven, interprété avec une distinction sans pareille.

Arcangelo's dazzling creativity, superbly marshalled by the charismatic Jonathan Cohen, gives a gold medal performance of all six Brandenburg Concertos to launch the London Festival of Baroque Music.

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

Director Francesco Micheli undersells Handel in this Glyndebourne debut, but there's plenty of froth to keep the audience entertained. 

Whether one considers Messiah to be really appropriate for Christmas, it always a welcome gift for the Handel aficionado, and this performance from Rotterdam, while suffering some unfortunate cuts, is an otherwise solid musical offering.

Jonathan Cohen embarks on his tenure as Music Director of the Quebec City chamber orchestra Les Violins du Roy.

Mozart's Clarinet Concerto started out naively impetuous, quick, breathless as if on the way to an assignation

Trio (samt Zimmermannscher Unterstützung) und Quartett schlossen beinahe nahtlos an die gebannte Bewunderung des Vorabends an.

Schreiber, Cohen, Bezuidenhout und das Chiaroscuro Quartet brillieren mit Beethovens kammermusikalischen Schenkelklopfern und rücken sein Bild fulminant zurecht.

Jonathan Cohen leads a sensitive performance by Arcangelo, with a line-up of five outstanding lyrical voices. 

Jonathan Cohen led The Cleveland Orchestra in sparkling performances of works by Handel and Mozart, with pianist Kristian Bezuidenhout as a brilliant soloist in Haydn.

Interviewed at the time of this production's first outing, McVicar declared that “Entertainment is not a dirty word”. His Giulio Cesare remains a hugely entertaining opera production.

An diesem Abend leitete der britische Dirigent, Cellist und Cembalist Jonathan Cohen das Orchestra La Scintilla im Opernhaus Zürich. Am Programm stand nur Bach – jedoch war es nichts weniger als eintönig. 

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

The bicentenary of Méhul's death in 1816 was used by the Orchestra of the Age of Enlightenment, along with the enterprising Palazzetto Bru Zane, to showcase his music in a varied and entertaining programme.

Das war Kammermusik at its best. Trotz und gerade wegen tückischer solistischer Besetzung höchstes Lob für treffenste Unterhaltung.

Arcangelo and three excellent singers performed 17th-century music inspired by Shakespeare in a vivid and amusing performance. Lipstick and pashmina anyone?

1960s kitsch set in old Seville, excellent acting and movement direction combines with strong singing and immaculate playing from the OAE to make Glyndeboune's Le nozze di Figaro a triumph.

Five star reviews are flowing Arcangelo’s way. It’s easy to see why. Five years after it was founded by Jonathan Cohen, the quality of this zestful ensemble just keeps soaring. 

There are some musical compositions that have always been a bit of a gamble, for composers, performers and even listeners. They might be exceptionally difficult, require extraordinary forces, or show such originality as to be perpetually startling.

ENO's latest première matches a young theatre director with a reputation for cutting-edge drama to one of the earliest operas in the repertoire, in the less-than-conventionally-operatic surroundings of London's Young Vic. It's an improbable combination, and I wasn't at all sure what to expect.