Rechercher des événements de musique classique, opéra et ballet
Événements à venirEn voir plus...
LyonOpen Symmetry
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Perich: Open Symmetry
NN; Ensemble 0; Alexandre Babel; Julien Garin
AmsterdamDear Professor
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Wantenaar: The Song of Koios
Florian Helgath; Yannick Verweij; Kenza Koutchoukali; Netherlands Chamber Choir; Merel Vercammen
ParisÉclats
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Cras, Debussy, Gershwin, Satie, Vivaldi
Vassilena Serafimova; Thomas Enhco; Quatuor Ardeo
ParisBoulez / Chostakovitch
Chostakovitch, Boulez
Rémi Geniet; Alice Power; Jean Ferrandis; Julian Miles Trevelyan; Victoria Shereshevskaya
NaplesTango!
Piazzolla, Glière, Debussy, Fauré, Ravel
Salvatore Lombardo; Matilde Agosti; Marco Pezzenati; Elèna Vallebona
Critiques récentesEn voir plus...
Yes ! à l’Athénée, on acquiesce !
Portée par les talents de la Compagnie Les Brigands, l'opérette de Maurice Yvain fait partie des productions à voir pendant les fêtes et jusqu'à la mi-janvier.
Mediations on the beautiful and the mortal in a Brooklyn cemetery
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Aaron Siegel’s suite of songs, delivered by the unearthly American countertenor Anthony Roth Costanzo, are short, elegant and uncluttered, bringing the vocal works of Ives and Messiaen, or even Purcell, to mind.
Unexpected surprises and delights for Wet Ink Ensemble
It would be rash to make assumptions about the composer/performer collective based on a single program, but it was still not to notice a divergence from the past in the program of world premieres.
How it's done: John Zorn celebrates his 60th birthday at the Barbican
John Zorn doesn’t look 60. He looks 35, or whatever age it is where you’re still just about young enough to get away with wearing baggy camouflage pants. “And that’s how it’s done!” he yells through his mic at the end of the first half, over huge applause and cheering from this passionate Barbican audience.
Nate Wooley's Seven Storey Mountain at Issue Project Room
Seven Storey Mountain, the title of Trappist monk Thomas Merton’s autobiography, is a reference to the mountain of purgatory in Dante’s Inferno. It is also, fittingly, the title of trumpeter Nate Wooley’s song cycle – meant to represent “a certain abandon found in religious practice within the confines of a composed work for instrumentalists”.