En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | La Flûte enchantée (Die Zauberflöte), K620: ouverture

La jeune soliste belge s'est montrée éblouissante dans le Cinquième Concerto de Mozart aux côtés du Brussels Philharmonic dirigé par Dirk Vermeulen.

De la trompette de Marc Geujon aux valses de Strauss, retour sur le concert du Nouvel An donné par l'Orchestre Symphonique de Mulhouse à La Filature et diffusé sur Facebook.

La programmation invitait à s’interroger sur le rapport de Mozart et Chostakovitch aux autres artistes de leur temps ou de l’histoire de la musique en général.

La Orquesta sinfónica de Tenerife presentó un repertorio con obras de Mozart, Hummel y Beethoven junto a la directora la rusa Anna Rakitina y el trompetista español Manuel Blanco.

An uplifting performance by the Swedish orchestra takes us on a journey from the Isle of Staffa to Bohemian forests via the Carpathian Mountains in the venue's Nature Unwrapped season. 

Ravel’s L’enfant et les sortilèges made up for an uneven first half that jumped from Mozart to Harry Potter.

The final day of Oxford Lieder's 80-event festival was framed by two recitals taking us from the world of German folklore andDes Knaben Wunderhorn, to the pain and drama of romantic entanglements. 

With a pianist of the calibre of Jan Lisiecki, Krzysztof Urbański has created an award winning collaboration which puts the two Poles way apart from many other soloist-conductor combinations. 

La Orquesta Sinfónica de Navarra, bajo la batuta Michal Nesterowicz, ofreció un concierto muy especial el pasado jueves en el que el centro de atención cayó sobre la aterciopelada voz de la soprano ukraniana Olga Pasichnyk a través de un programa que nos llevó del s. XVIII al XX.

Bruch’s Violin Concerto bo. 1 had a delicate soloist, but an outspoken orchestra, while Saint-Saëns’ “Organ Symphony” struck all the right notes.

A pair of auspicious debuts marked the CBSO's Prom: MirgaGražinyte-Tyla was making her London debut, plus it was the first time that Hans Abrahamsen's song cycle let me tell you was to be heard in the capital. 

Gardner and the Philharmonia immerse themselves in the complex emotional journey of Elgar's Second Symphony, whilst the brilliant Martin Helmchen excels in an illuminating performance of Beethoven's Second Piano Concerto.

Flórez's recital showed exactly why singers should steer clear of technological assistance. 

Great chemistry between conductor (and violinist, and violist!) Pinchas Zukerman and the CSO leads to joyful performances.

NSO's debuts for Maestro Donald Runnicles and soprano, Olga Peretyatko. 

Richard Tognetti and Christopher Moore exhibit excellent partnership in Mozart's Sinfonia Concertante, while a performance of Brahms' Third Symphony by the expanded forces of the Australian Chamber Orchestra provides much excitement and colour, but little sense of architectonic coherence.

A traditional programme of overture, concerto and symphony delivered classically, with a soloist on radiant form.

German tenor Klaus Florian Vogt gave a delightful recital of Wagner, Mozart and operatta, aided by excellent playing by Staatskapelle Weimer.

Michael Collins' golden tone delights in Mozart's Clarinet Concerto in a concert featuring the world première of Gwilym Simcock's latest composition, On a Piece of Tapestry.

Steven Osborne's Mozart with the City of Birmingham Symphony Orchestra captivates whilst Gardner's Elgar does not entirely convince.

Over the years, the Hong Kong Sinfonietta has made laudable efforts in bringing classical music to the masses and recruiting new audiences. Of necessity, it sticks to a well-trodden repertoire of evergreens which challenges musicians to bring a fresh perspective.The first half of programme on Wednesday evening was devoted to Mozart.

An element of conflict inhabits the combination of an evening out and a requiem mass. This thought ran through my mind as I approached Edinburgh's Usher Hall, the sunny foreground of which was populated by happy-looking concert-goers greeting friends.