En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Suite pour orchestre no. 3 en ré majeur, BWV1068

À la tête de l'Orchestre Philharmonique de Nice, Jérôme Correas a livré une interprétation enthousiasmante des suites de danses de Bach et Haendel.

Bach joué à une vingtaine, sans vibrato, Mozart à une cinquantaine, avec vibrato et un style d'arrière-garde, on peine à saisir une idée directrice au concert des Hongrois.

« Je ne crois pas qu’il puisse y avoir une fin au renouveau baroque », déclarait encore récemment Ton Koopman, non sans une fierté qu’on ne pourrait qualifier de mal placée.

L’Ensemble Baroque de l’Orchestre de la Suisse Romande, après une merveilleuse Alcina a un peu déçu sans pour autant démériter. La musique de Bach reste d’une puissance telle, qu’elle reste fascinante par sa structure et les émotions qu’elle suscite.

Bei seinem langjährigen Aufführungspartner Kloster Michaelstein und mit vertrautem Geigendirigenten Enrico Onofri begeht das Ensemble einen Geburtstag voll satter Energie.

In invigorating performances of Bach, Mozart and Beethoven in Auckland, Suzuki's interpretative approach evokes the sensibilities of historically informed performance. 

Vespres d'Arnadí y Dani Espasa abordaron en el Palau de la Música Catalana un monográfico instrumental de Bach con grandes dosis de teatralidad y afable trato hacia el oyente. 

La elegante batuta de Emmanuelle Haïm dio vida a un elegante programa en torno a la danza barroca.

Giovanni Antonini y la Orquesta Barroca de Sevilla ofrecieron una versión de las Suites para orquesta de Bach construida con criterio, sin perder de vista el trasfondo originario del mundo de la danza, mostrando su sublimación a través de un ejercicio sustancioso.

CoCo's players used a minimum of overt embellishment, always effective and appropriate, as if they felt that nothing more was needed than the printed notes.

The Singapore Symphony has never been a period instrument group and does not pretend to be one, but their all-Bach programme under Darrell Ang brought delight. 

Under Alan Gilbert’s baton, Kirill Gerstein presented the very recent piano concerto of Thomas Adès on an otherwise conservative program of Bach and Brahms.

Herreweghe’s lifelong artistry of concentration, clarity and intimacy was nowhere better demonstrated than in an exalted account of Mozart's last symphony. 

An exquisite rendition of Mendelssohn's Lobgesang makes one wonder why the work is not part of the regular repertoire.

Familiarity doesn't always breed contempt: Bach's famous Air proves the highlight of an enjoyable evening of Purcell, Bach and Pergolesi in the magnificent surroundings of Disney Hall.

An diesem Abend leitete der britische Dirigent, Cellist und Cembalist Jonathan Cohen das Orchestra La Scintilla im Opernhaus Zürich. Am Programm stand nur Bach – jedoch war es nichts weniger als eintönig. 

Dieses Tanzprogramm bot durchgehend launige Unterhaltung: von prunkvoll bis leicht, spritzig und rasant verzauberten Ensemble und Dirigent die Essener Philharmonie.

Music written by Bach for the Collegium Musicum, and also for the first Sunday after Easter, was played with skill and flourish by this exceptional orchestra;  sadly, the singing was not consistently good enough to match. 

Verhaltene Spielfreude in den Konzerten verhindert mitreißende Kontinuität im Sog des feierlichen Bach-Programms.

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.

With Mahler’s arrangement of Bach orchestral suites and Shostakovich’s Tenth Symphony, this concert showcased the many ways that composers have placed musical signatures on their work.

The orchestra's principal cellist Mark Kosower gave a performance of Haydn's Concerto in C notable for its transparency and grace at this late summer Blossom Festival concert.

Harry Bicket's eclectic, Baroque-centered program shows the many side of the Chicago Symphony Orchestra.

A disappointing performance of Bach's four Orchestra; Suites from the Academy of Ancient Music, on tour to the United States. 

"Glorious Bach" offered up exactly what it said on the tin as Royal Northern Sinfonia, with their guest conductor, baroque specialist, Laurence Cummings delivered some of Bach’s happiest music in a radiant and unfussy way.

Dances of the Baroque lay at the heart the latest concert in Royal Northern Sinfonia’s “from player to podium” series, with Håkan Hardenberger whirling the orchestra through gavottes and minuets with surefooted lightness.

Today it is thought that J.S. Bach’s chamber and ensemble music, including the four Orchestral Suites, date from his time in Leipzig from the 1720s onwards. When all the Orchestral Suites (BWV1066–1069) are put together, their inventive and varied nature is evident. The suites make great use of all ensemble instruments and incorporate a range of structures, as well as internal forms and dances.

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.

If you love Bach – and who doesn’t? – Birmingham was the place to be this weekend, for a delicious series of concerts, lectures and discoveries at the Town Hall and Symphony Hall under the heading ‘Bach: A Beautiful Mind’.

Continuing the Hallé’s project of juxtaposing Beethoven symphonies with modern works, the underrated fourth symphony was flanked by works by Helen Grime and Igor Stravinsky, with an intriguingly placed Bach Suite closing the concert.