En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Magnificat en ré majeur, BWV243

Début de saison inégal aux Violons du Roy dans trois magnificats de la famille Bach livrés avec fougue, mais appelant plusieurs réserves en matière interprétative.

L’Orchestre KlangVerwaltung et le chef Enoch zu Guttenberg, en compagnie du chœur Chorgemeinschaft Neubeuern, proposaient vendredi dernier à la Maison symphonique de Montréal deux œuvres majeures du répertoire choral : le Magnificat de Bach et le Requiem de Mozart. Ce concert était présenté dans le cadre d’une tournée nord-américaine visant à souligner les 20 années d’existence de l’orchestre.

Magnifique soirée à l’Auditorium grâce à Ton Koopman, le Chœur de chambre de Namur et Richard Goode.

Réjouissons nous : le concert de Noël du Philharmonique de Radio France est né.

El Collegium 1704 presentó la Missa Omnium sanctorum de Zelenka con un sonido potente y abrumador, estableciendo que esta obra de autor poco conocido puede medírselas con el Magnificat de Bach sin hacerle reverencias al maestro.

Enoch zu Guttenberg conducts a concert of religious music that traverses a vast host of motley mass-related sentiments – but falls somewhat short of completing the course.

...it was the Bach pieces that were the undoubted highlights, particularly the radiant contribution of Sara Macliver.

Ryan Wigglesworth conducts the Hallé in works by Bach, Stravinsky and Schumann.

Masaaki Suzuki leads Bach Collegium Japan in delicate renderings of the Orchestral Suite no.3, the Double Concerto and the Magnificat that convince more in the slower passages.

Bach’s Magnificat featured superlative solos from both singers and musicians, but the RCO and Iván Fischer reached a higher plane in a beautifully crafted and optimistic Brahms’ First Symphony.

Five star reviews are flowing Arcangelo’s way. It’s easy to see why. Five years after it was founded by Jonathan Cohen, the quality of this zestful ensemble just keeps soaring. 

Stimulating sounds from the Academy of Ancient Music in late night Bach at the Proms. 

"Stellen Sie sich vor, Sie leben im Leipzig des 18. Jahrhunderts," entführt Dirigent Haselböck sein Publikum in die Welt von überirdisch strahlenden Klängen der Geigen, Pauken und Trompeten und des jubelnden Chors - die Welt von Bachs Kantaten.

The main course of the sumptuous feast, under the title of the Valletta International Baroque Festival, arrived on 17 January. The fare was an international favourite with a Maltese surprise.The concert, the eighth in the series, was given by the Orchestra of the Age of Enlightenment in the magnificent setting of the ornate St John’s Co-Cathedral.

Celebrating the music of an iconic family that bridged the height of the Baroque period with the Classical era, conductor Christopher Gray and his Three Spires Singers set the evening ablaze with J.S. Bach's Magnificat and two works by the composer's prodigious children: the Sinfonia Concertante in A by J.C. Bach and C.P.E Bach's exuberant Magnificat.

Between them, Mozart and Bach wrote what is to my mind some of the happiest music in the repertoire, and the works performed in this concert by Northern Sinfonia and Chorus reminded us that great music doesn’t have to be solemn, or deliver a serious message – sometimes it’s about having as much fun as possible.

Robert Spano conducted the Orchestra of St. Luke's and the Atlanta Symphony Orchestra Chamber Chorus in an ambitious concert in Stern Auditorium at Carnegie Hall. The results were as mixed as the programming, which featured J.S. Bach's Brandenburg Concerto no. 3 and Magnificat, alongside Messiaen's Trois petites liturgies de la Présence Divine.

This splendid programme rightly attracted a fair sized audience to this fine church on this beautiful evening. Starting with Zadok the Priest, the best known of the four coronation anthems by Handel, the choir, although numbering under 20 voices, produced an initial impact which was to set the tone for the rest of the concert.