En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Klangforum Wien

Combinant humour, étrangeté et références aux grands compositeurs du passé, Pinocchio s’adresse à tous, enfants comme adultes, et offre de nombreux niveaux de lecture.

Der helle durchdringende Trompetenklang des Solisten Anders Nyqvist bildete den roten Faden durch oft drohende Ensemblebegleitung.

Sylvain Cambreling und das Klangforum Wien erzeugen mit Musik von Haas und Xenakis fantasievolle Bilder.

Dirigent Bas Wiegers inspirierte mit sympathischer Ausstrahlung Musiker und Publikum zugleich. 

Hyena ist ein spannendes Konzerterlebnis im Rahmen des Holland Festivals und ein überzeugendes Plädoyer für ein weiteres Entdecken der Musik von Georg Friedrich Haas.

A world première by a Czech composer highlights a strong outing by Klangforum Wien.

After Jonathan Meese's Parsifal staging was rejected by Bayreuth, he channelled his frustrations into an "arch-Parsifal" which shoots the titular hero into space, with a musical re-imagining of Wagner’s score by Austrian composer Bernhard Lang.

Wiener Festwochenzeit ist Experimentierzeit: das Experiment des doppelten Konzertabends gelingt.

Requiring trained opera singers to focus primarily on acting and asking actors to sing in a renowned opera house puts everyone out of their comfort zone, which is not necessarily a bad thing.

Emilio Pomárico und das Klangforum Wien sorgen mit Aperghis für einen Höhepunkt bei MaerzMusik in Berlin.

Mauricio Sotelo's world première based on El Público, a fascinating surrealist play by Federico García Lorca, mixed flamenco and tragedy to achieve a great night of opera. 

Mikrotonal und doch gemütlich: Mit Projektkonzerten und einem Symposium beschäftigten sich die Darmstädter Ferienkurse mit dem italienischen Komponisten Giacinto Scelsi, seiner Musik und seiner Rezeption.

Kings Place’s Out Hear series of contemporary music is second to none in London, but these concerts – though never less than interesting – can also be strangely low-key. In a lot of ways, this Wednesday’s Out Hear concert, the last this season, was quite a big deal: a rare visit to London from leading contemporary ensemble Klangforum Wien, containing a world première.

Give the Austrian body politic a victim complex to nurse, and it will gladly let off xenophobic steam. By now this well-oiled masquerade is possessed with Pavlovian inevitability. So nothing unusual then, when populist indignation about perceived Austrian vulnerability to the ongoing Greek crisis rapidly descended into ugly national stereotyping.Measured relatively, this has been a mild outbreak.

Born in 1920 to a Venetian bandmaster, Bruno Maderna became famous during his formative years as a violin prodigy and was told by his grandfather that he could gravitate to the mafia later in life and God would still look kindly on one who played the violin so wonderfully.

The Klangforum Wien has had its own row of subscription concerts at the Konzerthaus for the past 22 seasons, and a constant during that time has been the regular programming of Austrian composers.

Featuring seven concerts programmed according to nationality, the Klangforum Wien’s 22nd Konzerthaus subscription series, titled Europa, global, wants us to listen with socially conscious ears. The aim is to determine how globalization’s impact on cultural identity has influenced the musical avant-garde, defined conveniently as the music the Klangforum chooses to play.

The Klangforum Wien is such a disciplined ensemble that for them ever to be remotely fazed or challenged by a piece, even those works with Ferneyhough-like unfulfillable demands, is scarcely imaginable.