En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Le Mandarin merveilleux, Op.19, Sz 73

Alain Altinoglu et Christophe Coppens signent un Château de Barbe-Bleue d'anthologie à La Monnaie.

La conférence scénique a depuis quelques années un succès croissant. Le monde symphonique suit le mouvement dans la programmation de musique de chambre, mais ce n’est pas totalement illogique que des obstacles organisationnels et financiers surgissant souvent. Convoquer un grand effectif pour à peine une heure de concert ? Difficile à faire avaler ! À moins que ?

L’orchestre et le chœur de l’Accademia Nazionale di Santa Cecilia  proposait un concert éclectique réunissant compositeurs du Centre et de l'Est européens.

Three iconic Bartók dance scores are newly-interpreted at the Hungarian National Ballet. 

Two forces of nature meet when Esa-Pekka Salonen and Olivier Latry share the stage for the German premiere of Salonen's own Organ Concerto, with a programme that also includes incandescent Bartók.

Valery Gergiev and the Mariinsky Theatre Orchestra call in at the Teatro del Maggio Musicale Fiorentino for a programme of Prokofiev, Bartók and Stravinsky... and Gergiev picks up the keys to the city too.

At once visceral and disciplined, Roth drew scintillating playing from each section, none more so than the woodwind.

The Cleveland Orchestra and Joffrey Ballet team up for staged performances of Bartók's The Miraculous Mandarin and Bluebeard's Castle. 

Gergiev bows out of his tenure with the London Symphony Orchestra with a scrumptious programme of Stravinsky and Bartók.

Fervent flag-waving is usually reserved for the Last Night of the Proms, so what was going on in this Philharmonia concert? The Arena was awash with a sea of red flags, the chorus – and conductor Esa-Pekka Salonen – were decked out in T-shirts bearing portraits of Lenin or Stalin.

A few nights after the Berliner Philharmoniker brought us Janáček’s late masterpiece, the Glagolitic Mass, the Deutsches Symphonie-Orchester Berlin and conductor Tugan Sokhiev took the stage with his other great work from the same year, 1926: the Sinfonietta, Op. 60, which originally appeared with the modifier “Military”.