En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | La clemenza di Tito (La Clémence de Titus), K621: Parto, parto, ma tu, ben mio

L’Orchestra of the Age of Enlightenment et la mezzo-soprano Magdalena Kožená ont proposé mercredi dernier au Théâtre des Champs-Elysées un concert-récital de haut vol, entre Symphonie n° 40 de Mozart et airs classiques.

Franco Faglioli y la Orquesta Capella Cracoviensis ofrecen en el Teatro Real un recital muy por debajo de las expectativas.

Six talented finalists light up the final of the prestigious Norwegian singing competition

Daniel Barenboim und Cecilia Bartoli widmen dem Gedenken an Jürgen Flimm ein berührendes Konzert.

One of the greatest launching pads for an opera singer’s career, the Neue Stimmen once again proves its ability to attract the best operatic talents the world has to offer. 

DiDonato shines as Yannick Nézet-Séguin leads his OM in the final concert of its US tour, ending with blockbuster Bruckner. 

Mozart's Symphony no. 40 gets the chop, split into four movements interspersed with arias sung by Czech mezzo Magdalena Kožená. 

The Rotterdam Philharmonic marked their centenary with two concerts starring mezzo-soprano Joyce DiDonato. A bittersweet weekend, during which they also took leave of their beloved principal conductor Yannick Nézet-Séguin.

The Orchestra of the Age of Enlightenment stalked the “Corridors of Power” in Prague and Esterházy for a fabulous evening of Classical drama. 

It’s a rare treat to experience a performance given by two musicians at the height of their craft, especially when the performers in question are Cecilia Bartoli and Daniel Barenboim.

Happy Birthday, Mozart! An incisive Gran Partita from London Winds, a spirited Sesto from Christine Rice, and a memorable and arresting Concerto from Collins and the City of London Sinfonia.

The buzz in the Concertgebouw was palpable for many minutes before the entrance of Cecilia Bartoli. It was one of those occasions when even an audience member who knew nothing of the artists could hardly have failed to anticipate something special. She did not disappoint.

Mozart and Mendelssohn are surely two of the most popular composers for both the seasoned elitist and the irregular classical listener; tonight’s offering of time-tested favourites wrapped in the summer breeze of familiarity, coupled with the rare and exciting prospect of hearing Mendelssohn’s complete incidental music for Shakespeare’s A Midsummer Night’s Dream, was likely to be a draw – and it w