En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Philharmonia Chorus

Avec son directeur musical Joshua Weilerstein, la formation lilloise a livré un programme poignant qui associait Un survivant de Varsovie de Schönberg et la Symphonie n° 13 « Babi Yar » de Chostakovitch.

Troisième volet de l'intégrale des symphonies de Mahler par l'Orchestre National de Lille, sous la baguette de son jeune directeur musical, Alexandre Bloch. Retour sur une Symphonie n° 3 pleine de promesses.

En ouverture de leur saison et préfigurant la célébration des 250 ans de Mozart, le Classical Opera, offrait au Barbican un concert de l’inachevé. Un programme monumental et une interprétation fidèle, pour un rendu presque trop soigné.

William Kentridge's film, a patchwork collage depicting Shostakovich's complicated relationship with Stalin, is played as film score to his Tenth Symphony at the Southbank's genre-crossing Multitudes festival. 

All the hallmarks of a Muti performance are on display as the maestro returns to conduct the Philharmonia Orchestra in a magnificent reading of Verdi's Requiem. 

Massed choral forces, a strong solo line up and expanded orchestral forces overpower Handel at the end of the BBC Proms Choral Day.

Tchaikovsky's final opera and ballet were always intended to be paired; at the Royal Albert Hall Petrenko and the RPO present them together in a rewarding double-bill, marred by microphones.

Majestic performances all round in Handel's oratorio, with a strong solo team led by Allan Clayton as Samson, and a convincingly well-drilled performance from the Philharmonia Chorus.

Multi-sensory music? Scriabin's Prometheus, Poem of Fire tickles the senses in an ecstatic performance under Stanislav Kochanovsky. 

Superb vocal performances cap a finely crafted and uplifting performance of Mahler's Second Symphony.

At the Royal Albert Hall, the Philharmonia Chorus make an infernal set of demons, encouraged by that impish Lord of misrule, Vasily Petrenko. 

Mahler's Second Symphony receives an unforgettably committed and detail-rich performance at the Royal Festival Hall.

The BBC NOW gave us two hearty Russian works and celebrated the lunar landing with a world premiere of Huw Watkins' The Moon.

Michael Spyres' long lyrical line in the Sanctus was outstanding, his tone ardent and ringing.

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

At Sunday’s Philharmonia Orchestra concert, guest conductor Karl-Heinz Steffens paired the Requiem with the composer’s autumnal Clarinet Quintet.

The Orchestra of the Age of Enlightenment takes on its biggest ever challenge under the baton of Vladimir Jurowski.

The sheer contrast between each movement, the ferocity of the orchestra and the dynamism of Vasily Petrenko made for a whirlpool of a performance – dangerous, dark and occasionally tranquil. 

Daniel Harding and the Swedish Radio Symphony Orchestra gave an oddly-staged, at times erractic, performance of the “Resurrection” Symphony that failed to completely encapulsate Mahler's vision. 

In one of several (pretty outrageous) notes to conductors in the score of his Roméo et Juliette, Berlioz states that “the average listener has no imagination” and, as a result of this, the sixth movement of the work should be cut in 99 per cent of performances.

Every once in a while, I hear a concert that grips me from the first note and doesn’t let go until the very last. Daniele Gatti and the Philharmonia’s performance of Verdi’s Requiem at the Royal Festival Hall was such a concert.There are some caveats to make: I’m not catholic, I’m not very religious and I’m not particularly steeped in the tradition of liturgical music.

The Southbank Centre’s centenary celebration of Witold Lutosławski, titled Woven Words, can easily be overshadowed by the excitement of this year’s The Rest is Noise festival.

Benjamin Britten’s War Requiem is a monumental piece of music: literally, architecturally and aesthetically. It is a literal monument because of its creation for Coventry Cathedral, that architectural testament to the creative and destructive powers of man.

There was a definite buzz about London’s Southbank Centre on the evening of 16th February, for this was the night of the second concert in the Philharmonia Orchestra’s ‘The Still Point of the Turning World’ series, which began last month to huge critical acclaim (see my review).

Whether intentionally or not, the Orchestra of the Age of Enlightenment has done Christianity’s street cred a great service this week. As the St Paul’s protest furore continues to grow, the orchestra’s performance of Beethoven’s Missa Solemnis was a reminder that for the composer and countless others, religion is first and foremost about the comfort of spirituality.

It is always exciting to witness the birth of a new piece of composition, all the more so when the soloist is the inimitable Yo-Yo Ma.