En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Benjamin Appl

Pas d'opéra cette année au Festival Berlioz mais l'oratorio du compositeur éponyme, bien servi par les forces polonaises des chœur et orchestre du NFM de Wrocław placées sous la direction de Paul McCreesh.

Magnifiquement interprétée par Les Talens Lyriques et le Chœur de chambre de Namur, l'œuvre de Bach a éclipsé le Stabat Mater de Pergolesi, donné par un B'Rock Orchestra et un René Jacobs en petite forme.

Malgré d'excellents Talens Lyriques, cette Passion mise en scène par Calixto Bieito s'avère plutôt convenue et ne renouvelle guère l’approche de l’œuvre.

Le Festival de Saint-Denis a une nouvelle fois dédié une soirée à Mahler, accueillant l'Orchestre National de Lille et Alexandre Bloch ; trois Kindertotenlieder ont précédé une très attendue Symphonie n° 5.

Unter der Leitung des Dirigenten Leonardo García-Alarcón präsentieren der Chœur de chambre de Namur, das Verbier Festival Chamber Orchestra und ein buntes Solistenquintett eine uneinheitliche Deutung von Bachs Sakralwerk.

Bei Appls Liedersammlung „Forbidden Fruits“ zeigte der neue Konzertsaal im Münchner Kulturkraftwerk Bergson fabelhafte Eignung für die Kammermusik.

Baritone Benjamin Appl and accordionist Martynas Levickis tour Europe and the USA in songs and solos demonstrating both the richness and simplicity of 19th- and 20th-century music. 

A sense of marvel and joy permeates this New Year's Day performance of Haydn's oratorio at Müpa, Budapest. 

Dausgaard is in his natural habitat when conducting music by his compatriot and his account of the Sinfonia espansiva proves the highlight of this Prom. 

Der Zuhörer erlebte in Köln ein Konzert mit einem formidablen Fest auf royale und kompositorische Könige von ausführend musikalischen Größen.

El profundo lirismo de la obra de Vaughan Williams y Holst se adueñó del Auditorio Nacional de la mano de la Orquesta y Coro Nacionales de España con Eiji Oue al frente.

Bach's crowning musical achievement made a disappointing return to the Philadelphia Orchestra repertoire after a 34-year absence.

Sir Roger Norrington and a strong cast joined a Baroque-style London Philharmonic Orchestra in a highly accomplished Dido and Aeneas, preceded by Handel’s clean and stately Water Music.

Competent if underwhelming Handel from the Royal Philharmonic Orchestra and Maxim Emelyanchev.

The RLPO and NDR Radiophilharmonie Hannover join forces for Britten's War Requiem.

It was especially effective to hear the line “One ever hangs where shelled roads part” with the vast hanging crucifix with its portrait of Christ dominating the scene behind.

Thomas Dausgaard, Seattle Symphony’s Music Director Designate, arrived in town to lead the orchestra and its chorus in an impassioned account of Kullervo, the rarely heard Sibelius epic.

BBCSSO with Thomas Dausgaard, the Lund Male Choir and soloists gave a thrilling performance of Sibelius’ Kullervo with Finnish folk musicians joining the forces.

John Butt and the Dunedin Consort closed the Oslo Church Music Festival with fine performances of CPE Bach and Mozart, even though the concert didn't prove quite as innovative as advertised.

Saint-Saens' “Dance of Death” and Orff's gaudy, medieval satire framed a stunningly-realised new commission from Guy Barker, with Alison Balsom playing against type. 

Jamie Barton emerged as the star of the OAE/Marin Alsop's all-Brahms Prom, which included the first Proms performance of Brahms' Triumphlied.

I’m sure before long I’ll see a production of Daisy Pulls It Off that opens with modern day soldiers charging onto the stage waving rifles about – it seems to be the first image directors reach for these days.

Despite a relatively easy-to-follow storyline, Mozart’s Le Nozze di Figaro is an opera that is hard to pull off entirely successfully. Musically, it requires enormous vigour from both cast and orchestra; dramatically, this opera buffa demands strong acting skills in order to eke out its moments of farce.

Otto Nicolai’s very German take on Shakespeare’s The Merry Wives of Windsor was a big hit in the mid-19th century but has been infrequently performed since then, largely because Verdi’s version, Falstaff, completely eclipsed it.