En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Tristan et Isolde: Prélude et Liebestod

C'est un vrai banquet du Walhalla wagnérien qui a été proposé : extraits des Maîtres chanteurs, de Tristan... et de La Walkyrie, avec le trio Stuart Skelton – Jennifer Holloway – Mika Kares.

Malgré un programme particulièrement ambitieux et une Philharmonie à moitié vide, les Dissonances prouvent combien un orchestre sans chef peut dominer Wagner, Strauss et Schönberg...

Début de saison en demi-teinte pour l'Orchestre symphonique de Québec : Fabien Gabel se montre en très grande forme dans un programme tout Wagner où Petra Lang déçoit.

Pour fêter la Saint-Valentin, l’Orchestre National de Lyon propose un programme d’œuvres intensément passionnées, les plus fameuses transportant à la découverte de l'extase.

Esa-Pekka Salonen et le Philharmonia Orchestra étaient au Théâtre des Champs-Élysées pour un programme Wagner, Schönberg et Bruckner. Un coup de maître.

Le London Symphony Orchestra et Sir Simon Rattle étaient invités à la Philharmonie de Paris pour un programme aux accents funèbres, voire apocalyptiques. Récit d'une soirée miraculeuse.

Au centre du week-end "Love Stories" à la Philharmonie, l'Orchestre de Paris donnait un concert autour de "L’Amour interdit", avec Fabien Gabel à la direction. Au programme Wagner, Strauss, Debussy : de très beaux moments, mais un Don Quichotte un peu en-dessous.

La Orquesta Sinfónica de la Radio Sueca ofreció un excelente concierto bajo la dirección de Daniel Harding.

Debutant conductor Thomas Guggeis filled out the programme with a creation of his own – a fusion of Tannhäuser, Lohengrin and Meistersinger.

A great RSNO season debut from conductor David Niemann, with impressive Wagner and a searing Pathétique Symphony. 

Karina Canellakis makes her debut with the Royal Concertgebouw Orchestra in a programme full of extremes. 

Winding up his inaugural tour with the BRSO, new Chief Conductor Sir Simon Rattle delivered a superbly performed program of Wagner, Adès and Beethoven. 

Sensory overload? Color takes centre-stage in Scriabin's synaesthetic Poem of Fire and Anna Clyne's Color Field. 

Gerts conducts a sublime Brahms 4 while Carol McGonnell gives a lively rendition of Stanford's Clarinet Concerto in A minor. 

Schönberg, Strauss und Wagner stehen am prachtvollen Programm der Berliner Philharmoniker.

Un atractivo programa para una de las visitas de la temporada de Josep Pons, quien venía acompañado del pianista Nelson Goerner.

Karina Canellakis conducts the BBC Scottish Symphony Orchestra in a programme of large scale repertoire to close the 2023 Edinburgh International Festival. 

Nachdem der junge finnische Dirigent Klaus Mäkelä bereits eine aufsehenerregende Laufbahn zurückgelegt hat, gibt er nun sein Debüt am Lucerne Festival. Die Eindrücke gehen in verschiedene Richtungen.

Pull out all the stops and blow through all the pipes: the mighty organ is there to be celebrated! Olivier Latry demonstrates his mastery of the art.

The Orchestra Sinfonica Nazionale della Rai impresses in “bleeding chunks” from Wagner operas at the Festival de Pâques d'Aix-en-Provence.

El Cuarteto Latinoamericano comparte escenario con la Orquesta Sinfónica Nacional en una cuidada interpretación de la obra de Orbón y con Ludwig Carrasco al frente de las agrupaciones. Orquesta y director dominaron la suite de Romeo y Julieta para concluir una velada cuyo comienzo, con Wagner, fue algo opaco.

Excerpts from three stageworks by Wagner, Barber and Tchaikovsky are performed in a magical and enchanting sequence in Manchester’s Bridgewater Hall. 

Ludovic Morlot conducts the RSNO in a relationship that blossoms into love... eventually.

Stefan Blunier se puso al frente de la Orquestra Sinfónica do Porto Casa da Música y el Coro Casa da Música rodeado de gran expectación para dar vida a un programa puramente postromántico que incluyó una excelsa Das klagende Lied de Mahler.

Finnegan Downie Dear leitete durch ein Spektrum sinnlicher Musik von Wagner bis Jonathan Harvey.

The Orchestra of the Age of Enlightenment's beautifully curated selection of Mann-themed music enjoys mixed success. 

Ahead of Valentine's Day, the Orchestre symphonique de Montréal presented a concert centered on “symphonic love”.

Karina Canellakis leads the Royal Stockholm Philharmonic Orchestra in Wagner and Strauss with style and sophistication.

The HK Phil display virtuosic brilliance in an energetic rendition of Shostakovich’s witty Symphony no. 9 under Jaap van Zweden

The War of the Romantics – Brahms v Wagner – from the BBC National Orchestra of Wales and Nathalie Stutzmann, followed by an energetically powerful Mozart Requiem with the BBC National Chorus of Wales on fine form.

Music Director Ludovic Morlot placed an emphatic Fortissimo ending on an eight-year tenure that has placed the Seattle Symphony on the global map.

In the second of the two concerts this week to open the Philharmonia's season, Salonen excels in the Schoenberg, while leaving space for debate in the Bruckner.

Jonathan Bloxham steps in for a presumably unwell Mirga Gražinytė-Tyla with the CBSO in Cardiff. 

Josep Pons volvía al frente de la OSG en una velada que, tras la cancelación del violinista que iba a interpretar el Concierto de Alban Berg, se conformó en un programa entermanente formado por música orquestal de Richard Wagner. La experimentada batuta de Pons sacó de la Sinfónica expresividad y brillantez y nos brindó un Wagner rebosante de musicalidad.

Jaap van Zweden returned to the CSO with a probing account of Brahms’ German Requiem, along with shorter but no less moving works of Mozart and Wagner.

Mezzo-soprano Marie-Nicole Lemieux made her Cleveland Orchestra debut in a passionate performance of Chausson’s Poème de l’amour et de la mer.

A decadent romantic programme of Wagner and Mahler, where Nathalie Stutzmann delivered a scintillating performance particularly in Wagner's Prelude.

Dirigent Antonello Manacorda zeigt mit den Göteborger Symphonikern und Lisa Larsson, dass der schönste Weg von Deutschland nach Amerika über einen Schlenker nach Schweden führt.

A superlative Berg Violin Concerto with Leonidas Kavakos makes up for disappointing Schumann from Gatti. 

Swedish soprano Miah Persson dominates the Orchestre symphonique de Montréal’s enterprising Romantic Lieder program conducted by Kent Nagano.

Jaap van Zweden and Hong Kong Phil's Der Rosenkavalier Suite full of swagger, sarcasm and humour

Marie-Nicole Lemieux and Yannick Nézet-Séguin score personal triumphs with l’Orchestre Métropolitain in their first concert together in thirteen years.

In his 2011 book Verdi and/or Wagner, currently doing the rounds in libraries across the UK for obvious reasons, Peter Conrad devotes the best of 400 pages to essentially draw all sorts of divisive lines: the sensual Italian song versus the cerebral German symphony; the radically different conceptions of tragedy (“Tragedy in Wagner is an act of will […] Verdi’s characters, unlike Wagner’s, would p

After a concert last week made inaudible by thunder and a very heavy rain storm, The Cleveland Orchestra and its music director Franz Welser-Möst returned to Blossom Music Center this past Saturday in much more auspicious circumstances – a gorgeous, warm, non-humid evening – for a generous helping of excerpts from the operas of Richard Wagner, in celebration of that composer’s bicentenary.

This concert, to celebrate the 200th anniversary of Wagner’s birth, opened with that composer’s most influential phrase – the beginning of the prelude to Tristan und Isolde wherein the Tristan chord, which is reputed to have had such an unsettling effect on the harmonic language of all who followed, first stole upon the ears of 19th-century music lovers.

It’s Richard Wagner’s bicentennial year, and everyone is getting in on the act. 22 different productions, by one count, of the complete Ring cycle will be seen worldwide, not to mention countless other celebratory evenings put on by sundry ensembles.

Principal Guest Conductor Markus Stenz joined the Hallé for a programme of richly romantic music in nature and name, from the impassioned chromaticism of Tristan and Isolde to the peaks and valleys of Bruckner. Stenz seemed to shirk away from easy heroism all evening, opting instead for softer and harder-won resolution.

On 29th September 1973, the Sydney Symphony Orchestra performed an all-Wagner program in Sydney’s Opera House. This was the first concert ever heard in this most iconic of concert halls.

This was potentially a very nice programme which frustratingly only rarely lived up to its promise.First on the programme were the Prelude and Liebestod from Tristan and Isolde, the iconic bookends of Wagner's most revolutionary work. The Prelude lacked the extraordinary tension and atmosphere it can have, though the climax was powerful throughout.