Our privacy policy was last updated on Monday 24 June 2019View it hereDismiss
Sign in
Bachtrack logo
What's on

Performer: Markus Stenz

Upcoming eventsSee more...

AmsterdamAufstieg und Fall der Stadt MahagonnyNew production

Aufstieg und Fall der Stadt Mahagonny
Weill: Rise and Fall of the City of Mahagonny
Markus Stenz; Ivo van Hove; Dutch National Opera; Jan Versweyveld; An D'Huys; Doris Soffel; Alan Oke

BudapestGyörgy Kurtág: Fin de partie (Endgame)

György Kurtág: Fin de partie (Endgame)
Kurtág: Fin de partie
Markus Stenz; Pierre Audi; Christof Hetzer; Frode Olsen; Leigh Melrose

DetroitRachmaninov Piano Concerto

Rachmaninov, Busoni, Scriabin
Detroit Symphony Orchestra; Markus Stenz; Alexander Gavrylyuk

AmsterdamBrett Dean's opera Hamlet

© Sim Canetty-Clarke
Dean: Hamlet
Markus Stenz; Allan Clayton; Kathryn Lewek; Rosie Aldridge; Rodney Gilfry

SeoulBeethoven: Revolution

Debussy, Zimmermann, Beethoven
Seoul Philharmonic; Markus Stenz
Latest reviewsSee more...

Perfect symbiosis of words and music in Fin de partie

Leonardo Cortellazzi (Nagg) © Ruth Walz

György Kurtág’s long awaited opera Fin de partie gets a second run in Amsterdam after its La Scala premiere, with the same excellent cast, conductor and production team.

Read more

Beckett at La Scala: world première of Kurtág's Fin de partie

Leigh Melrose (Clov) and Frode Olsen (Hamm) © Ruth Walz | Teatro alla Scala
Never before has human impotence been so cruelly portrayed on stage.
Read more

Minnesota Orchestra reacquaint with old friends in Minneapolis

Markus Stenz © Molina Visuals
In Minneapolis, Markus Stenz and Louis Lortie present time-honored Austro-German symphonic masterpieces in committed and compelling performances.
Read more

An impressive Babylon at the Holland Festival

Babylon © Hans van der Woerd
The loud cheers for the performers were richly deserved, although Jörg Widmann’s imposing but sprawling Babylon was not well-served by the concert format.
Read more

Magnificent terror in Requiem for Hieronymus Bosch

Detlev Glanert © Bettina Stöß
Detlev Glanert's first religious composition, a staggering Requiem for solo voices, two choirs and orchestra, pits the demonic against the angelic, and is worthy of the genius it celebrates.
Read more