En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Octuor pour vents

Esa-Pekka Salonen et Benjamin Millepied ont uni musique et danse dans un beau programme où le Rituel in memoriam Bruno Maderna de Pierre Boulez a pris une dimension supplémentaire.

Dimanche 26 juillet 2015, le Prom 12 était le 3ème et dernier concert du marathon Beethoven donné par Leif Ove Andsnes et le Mahler Chamber Orchestra. Au programme, les Concertos n°2 et 5 du grand maître. Une soirée jouissive, rayonante de joie.

Pierre Boulez’ Rituel in memoriam Bruno Maderna is choreograped by Benjamin Millepied for a New York Philharmonic performance, led by Esa-Pekka Salonen.

A showcase of works from the past century by Clyne, Prokofiev, Stravinsky and Barber allow the Hong Kong Sinfonietta to shine under Ken Lam's baton at Hong Kong's City Hall. 

Sparkling Haydn from the Mahler Chamber Orchestra leads the way into an eclectic programme at the Enescu Festival. 

The players gathered at the bar for a Scotch as the credits rolled. After three hours and twenty minutes of note-taking, I decided to follow suit.

Hans Graf conducts four works which showcase the strings, then the winds and brass, of the SSO. 

A celebration of fifty years of the London Sinfonietta was a well-deserved pat on the back for this valuable institution.

Woodwind and Brass from the Royal Conservatory of Scotland gave sparkling Stravinsky performances of his Octet, Symphonies of Winds and joined by RCS Voices for his Mass.

James Levine led the MET Chamber Ensemble through a remarkable performance of Carter's The American Sublime, whose scattered yet distinct clouds of sound evoked the warmth, irony, and philosophical musings of the texts.

Not painting by the numbers: with a trio, a pair of quartets, and an octet, the Seattle Chamber Music Society offers more than the sum of its parts.

“The Beethoven Journey” is a remarkable collaboration between pianist Leif Ove Andsnes and the Mahler Chamber Orchestra.

Before last night I had reserved judgement on John Adams’ Grand Pianola Music (1982), which I knew from CD but hadn’t previously heard live. It was an effect-piece, I thought, so while it had left me a little cold in recorded form, I was open to the possibility that this enormous, ecstatic major-key pile-up would blow me away in the concert hall.