En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jörg Widmann

Proposer un programme composé exclusivement de compositions des XXème et XXIème siècles a de quoi faire mentir ceux qui réduiraient volontiers la musique savante à son seul classicisme.

Un concert de « musique spatiale », composé d’œuvres de Grisey, Saariaho, Maresz, Harvey et Boule, au festival de Radio France, à Montpellier. Le spectateur est projeté dans un autre espace-temps, pour une immersion au cœur de la technologie et de l’innovation artistique qui ne peut laisser indifférent.

Franz Welser-Möst leads a program reflective of the artistic threads that have defined his Cleveland tenure: Prokofiev, contemporary Austrian music and Wagner.

Das Hagen-Quartett und Jörg Widmann laden in die Komponierstuben von Robert Schumann und Johannes Brahms ein.

Jörg Widmann en su triple faceta de solista, director y compositor ofreció junto a la Orquesta Nacional de España una brillante velada con obras que, de un modo u otro, gravitaban en torno a la danza.

A varied programme of chamber music charms the Berlin Phil, featuring works by Widmann and a premiere by young talent Tsotne Zedginidze.

Jörg Widmann und das Hagen Quartett lassen vermeintlich bekannte Werke lebendig werden.

El Cuarteto Quiroga, que celebra veinte años como conjunto, se presentó en el Liceo de Cámara junto a Jörg Widmann con un programa que, asentado en la tradición clásica, complementaba brillantemente el estreno de Widmann.

50 Jahre alt und kein bisschen ruhig: tänzerisch wild präsentierte sich Jörg Widmann als Instrumentalsolist mit Klarinette und Dirigent mit Drive.

Widmann brings his composing personality to conducting Mozart, and uses the glass harmonica to create a sound that's as eerie as it's unforgettable.

Jörg Widmann helms an exhilarating CBSO concert in Birmingham, making Beethoven’s Seventh Symphony sound brand new. 

The clarinetist/composer fulfills a dream and takes a talented quartet on a rambunctious romp through Mozart, Haydn and his own music.

Im Münchner Prinzregententheater entstand dank ausdrucksstarker Solisten ein blumiger Mikrokosmos.

Jörg Widmann proved again to be a true musical polymath,  one of the very few active today.

After four evenings and ten world premieres, Pierre Boulez Saal's A Festival of New Music comes to a haunting end.

In fragments and miniatures, the ensemble pieces were most satisfying, allowing Widmann not to build arguments but define subjects by contrast, showing a quick wit and a flair for suspense. 

Soprano Claron McFadden's pellucid voice tremendously contributed to the structural and sonic richness of Widmann's Versuch über die Fuge.

In Mozart's Clarinet Quintet, the dialogue between instruments, underlined by changes in moods and textures, had an operatic quality.

A showcase of Jörg Widmann’s talents as composer, conductor and clarinettist in works by Mozart, Weber and himself

Britten and Shostakovich were great friends, so it was appropriate that both composers were represented in the Belcea Quartet's two recitals on the opening weekend of the 70th Aldeburgh Festival. 

It seemed at times that Dame Mitsuko Uchida and clarinetist Jörg Widmann have been collaborating for decades.

Jörg Widmann wore two hats in the last concert of the Zurich Tonhalle’s season, both playing solo clarinet and conducting a performance of one of his own thought-provoking works.

Orchester in Bestform, Solisten in intimem Zusammenspiel - man darf sich auf eine aufregende Konzertsaison freuen.

A stellar quartet deliver Messiaen's time-stopping depiction of the eternal in Edinburgh's Greyfriars Kirk.

Simone Young and the Dresdner Philharmonie make a formidable partnership. The orchestra play with such a wonderful sound, especially in the wind and brass sections, and the range of colours they conjure is incredible. And Young clearly revels in the orchestra’s technical facility, but still always bringing something extra, and never taking away from what the orchestra can do for themselves.

The fascinating Rest is Noise festival at Southbank Centre has now reached its mid-point, with the focus on music created out of oppression and war.

It’s easiest to describe Christian Tetzlaff’s approach to playing the violin by what he isn’t trying to do. He is not trying to play as beautifully as possible, in the conventional sense. He is not trying to sound like a nightingale, soaring long, honeyed lines above an accompaniment.