Classissima Meine Klassik

 

AKTUELLES

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1. März   -  

The Indian Queen; Lisa Batiashvili and Paul Lewis – review

Coliseum; Wigmore Hall, London Peter Sellars spins unfinished Purcell into a Mayan extravaganza that delights and irks Continue reading...

28. Februar   -  

Why the male domination of classical music might be coming to an end

For decades – no, make that centuries – the classical music world has sidelined women, if not ignored them completely. But the balance may be finally shiftingIn a studio at Morley College in south London, a group of teenagers are ...

27. Februar   -  

CBSO/Nelsons review – every tangled strand of their instrumental writing was teased out

Symphony Hall, Birmingham The conductor’s sense of line through the slow movement was immaculate, and his control of the huge finale unfaltering Continue reading...

27. Februar   -  

The Indian Queen review – Lucy Crowe’s singing brings Purcell into focus

Coliseum, London Stylised violence, stylish conducting and extended ballets combine in this adaptation of an unfinished work by Purcell, resulting in a fragmentary but sometimes glorious night at the ENO / Continue reading...

27. Februar   -  

Eyewitness: Royal Albert Hall, London

Photographs from the Eyewitness series / Continue reading...

26. Februar   -  

Elgar: Symphony No 1; Cockaigne CD review – unfocused and immature

Royal Liverpool Philharmonic Orchestra/Petrenko (Onyx) Continue reading...

26. Februar   -  

Lost and Found: Hoffmeister; Fiala; Lebrun and Kozeluh Oboe Concertos CD Review

Mayer/Kammerakademie Potsdam (Deutsche Grammophon) Continue reading...

26. Februar   -  

Andre: … auf … CD review – alienated textures

SWR Symphony Orchestra Baden-Baden/Cambreling (Wergo) Continue reading...

26. Februar   -  

David: Le Desert CD review – coherent and compact

Dubois/Wilder/Winling/Accentus/Orchestre Chambre de Paris/Equilbey (Naive) Continue reading...

26. Februar   -  

The musical and environmental mindfulness of John Luther Adams

The activist and composer is inspired by the natural processes he sees all around him – but refuses to let politics take charge of the music / It’s not often that a composer sets out their aesthetic and ethical credo as clearly as ...
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