En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Kristiina Poska

Sous la direction précise et inspirée de sa directrice musicale, l'Estonienne Kristiina Poska, l'orchestre constitué de musiciens de 16 à 25 ans a livré un concert aussi exemplaire qu'emballant.

Des tourments d'Adam aux chemins de la rédemption, l'Estonian Philharmonic Chamber Choir et le Symfonieorkest Vlaanderen ont donné un programme parfois trop lisse mais toujours d'une grande beauté.

La jeune chef estonnienne conquiert l'auditoire par son dynamisme à toute épreuve.

Kristiina Poska directs the RSNO in gripping Tchaikovsky and Pärt, but words and music only occasionally match in Elena Langer's new song cycle.

Kristiina Poska makes a successful Toronto debut with solid Beethoven and some spicy Caribbean fireworks from Stewart Goodyear. 

The Flanders Symphony Orchestra finish their UK tour in Edinburgh with Mozart and Beethoven: safe repertoire, but it's played with focus and energy.

After an atmospheric Four Sea Interludes Jess Gillam gives a dazzling account of John Harle's Briggflatts. 

A Sibelius symphony where everything worked, and a high-sugar treat from Rachel Barton Pine.

ENO's Merry Widow is big, brash, and more than a touch juvenile – but it's the most fun one can have at the opera.

The Estonian National Symphony Orchestra under Kristiina Poska strain, discharge energy and ultimately make magic at the annual Estonian Music Days.

The revival of Calixto Bieito's Carmen in Oslo proves a bumpy ride, with uneven singing and orchestral playing, saved by Katarina Bradić's captivating portrayal of the title heroine.

Das Tonkünstler-Orchester Niederösterreich lief unter Kristiina Poska mit Janáček zu Höchstform auf.

The Komische Oper production of Die Zauberflöte is a modern classic: absolute magic conjured by Barrie Kosky and the team from 1927 theatre.

Signs of birth and death – but moreso death – flash continuously through the Latvian director Viestur Kairish’s new production of Britten’s A Midsummer Night’s Dream, which opened the Komische Oper Berlin’s 2013/14 season.

Die Zauberflöte is a work whose outward simplicity masks internal complexity and even contradictions. Mozart’s music is childishly tuneful and yet reaches for the classically sublime; Emmanuel Schikaneder’s libretto alternates a magical quest story out of a German storybook with Masonic claptrap and secondhand Voltaire.