Rechercher des événements de musique classique, opéra et ballet
Événements à venirEn voir plus...
LondresOur Friends Electric – A concert for solo voice & electronics
Hiendl, Jackson, Cox, Soumah, Regucera, Wilson, Lixenberg, Mitchener
Elaine Mitchener; Shamica Ruddock; Pat Thomas; Michael Picknett
AmsterdamOrlando, a melancholic portrait
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de Lassus: Orlando, A Melancholic Portrait
Simon-Pierre Bestion; Ensemble La Tempête
ReykjavíkPortrait of Magnús Jóhann
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Ragnarsson
Iceland Symphony Orchestra; Ross Jamie Collins; Magnús Jóhann Ragnarsson
HelsinkiClassical Trancelations in Concert
Orchestre philharmonique d'Helsinki; Ross Jamie Collins; Ahjo Ensemble; Petri "Lowland" Alanko; Sami Uotila; Marianna
CologneLonging to tell
Akua Naru & Tyshawn Sorey: longing to hear
Tyshawn Sorey; Anta Helena Recke; Annette ter Meulen; Akua Naru
Critiques récentesEn voir plus...
Mariage tragique aux Carmélites : mourir peut attendre pour L'Orfeo
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Fruit d’une série de trois résidences locales et de la collaboration entre les compagnies À bout de souffle et Avant l’incendie, cette relecture de L'Orfeo de Monteverdi est indéniablement vivante.
Conrad Tao’s glorious exercises in parody, persistence and technology
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Conrad Tao bookends his Zankel Hall recital, performed on a concert grand and a large electronic keyboard, with Debussy’s 12 Études.
Experiments in Opera returns with a strange story of resurrection
Soprano Gelsey Bell instilled a very human spirit into the role of the troubled widow. The decidedly formal Jeffrey Gavett was well cast as the dead man. Their duets rang with perfection.
Tognetti releases the inner impulses of Bach
Richard Tognetti’s absorbing programme mixed Bach’s Goldberg Variations with Stravinsky and Adès, played impressively and with characteristic exuberance and finesse by the Australian Chamber Orchestra.
The pleasures and perils of electronic music
NYVOS Next offers works by Alvin Lucier, Kaija Saariaho and evening curator Kate Soper in a program demonstrating both the breadth of and inherent risks in live performance with electronics.
The Source belongs here and now
It's not really an opera (or even an oratorio), but Ted Hearne's The Source is important and engaging.