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reviews each month.
A SEMI-SUCCESSFUL SEMI-STAGING OF DIE WALKÜRE AT A word of warning: approach this review with caution. It addresses the third performance at Longborough Festival Opera in five days – not to mention the Sitzprobe, dress rehearsal and goodness knows what else – of a notably taxing opera so inevitably, after all that, there were early signs of wear and tear in several voices. With shows shunting up every other day (presumably for reasons of LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Lear. in Munich: brilliant performance, but lifelessly staged by Christoph Marthaler. Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021. There is much to enjoy in this confident production, a near OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Covid has brought radical change to always-inventive Opera Holland Park.The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand, begged and borrowed chairs in a recycling policy that extends up onto the stage, where the set from 2018’s successful La ORCHESTRA AND CHORUS LIGHT UP GARSINGTON'S EUGENE ONEGIN Orchestra and chorus light up Garsington's. Eugene Onegin. revival. In their Fidelio last September, Garsington Opera showed their ability to navigate Covid constraints to produce an outstanding artistic result. Last night, in their revival of Michael Boyd’s 2016 production of Eugene Onegin, they showed that same ability with a fully staged LAURELS FOR PINCHGUT OPERA'S LOVES OF APOLLO AND DAFNE IN A pity that reputation then went into abeyance until Raymond Leppard brought him back to life in 1967 at Glyndebourne, a much more full-bodied version than Erin Helyard's lean one for Pinchgut. In Sydney, a superb basso continuo did much the work, lead by Laura Vaughan on viola da gamba and lirone, a fearless Baroque harp fromHannah Lane and
A CONCERT WALKÜRE TO REMEMBER: KAUFMANN AND DAVIDSEN IN It was always going to be a hot ticket and it turned out to be an emotional event, with a distinct quaver in Intendant Nikolaus Bachler’s voice as he welcomed a Bayerische Staatsoper audience – albeit a much reduced one – back to the Nationaltheater after an absence of six months. It was a cast list to send shivers up one’s spine: Jonas Kaufmann, still the world’s most sought-after LA CLEMENZA: ROYAL OPERA BACK IN FRONT OF A LIVE AUDIENCE The cheers were warm and genuine. When conductor Mark Wigglesworth brought the orchestra to its feet before launching into the overture to Mozart’s La clemenza di Tito, the socially-distanced audience at the Royal Opera House, Covent Garden, sent a message, loud and clear: we are so glad to be back.After months of cultural deprivation, here at last were real, live instrumentalists and BIENVENUE SUR BACHTRACK LE SITE DE LA MUSIQUE …TRANSLATE THIS PAGE Notre politique de confidentialité a été mise à jour pour la dernière fois le vendredi 31 janvier 2020Voir ici Ignorer IN THE BLEAK MIDSUMMER: DAMIANO MICHIELETTO'S KÁTYA Many productions of Kátya Kabanová are built around the storm and the mighty river flowing through the village, but these hold little interest for Damiano Michieletto. Rather, his staging is firmly focused on Kátya’s state of mind. Bare white walls shift around the stage to represent the forces that hem her in, opening at times to reveal a chink of light through which she might escape WELCOME TO BACHTRACK, THE CLASSICAL MUSIC WEBSITE FOR LIVEWHAT'S ONREVIEWSARTICLESVIDEOTRAVELTELEMANN The leading music site for worldwide reviews and listings of classical concerts, opera, ballet and dance, 12,000 upcoming events, and 200 newreviews each month.
A SEMI-SUCCESSFUL SEMI-STAGING OF DIE WALKÜRE AT A word of warning: approach this review with caution. It addresses the third performance at Longborough Festival Opera in five days – not to mention the Sitzprobe, dress rehearsal and goodness knows what else – of a notably taxing opera so inevitably, after all that, there were early signs of wear and tear in several voices. With shows shunting up every other day (presumably for reasons of LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Lear. in Munich: brilliant performance, but lifelessly staged by Christoph Marthaler. Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021. There is much to enjoy in this confident production, a near OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Covid has brought radical change to always-inventive Opera Holland Park.The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand, begged and borrowed chairs in a recycling policy that extends up onto the stage, where the set from 2018’s successful La ORCHESTRA AND CHORUS LIGHT UP GARSINGTON'S EUGENE ONEGIN Orchestra and chorus light up Garsington's. Eugene Onegin. revival. In their Fidelio last September, Garsington Opera showed their ability to navigate Covid constraints to produce an outstanding artistic result. Last night, in their revival of Michael Boyd’s 2016 production of Eugene Onegin, they showed that same ability with a fully staged LAURELS FOR PINCHGUT OPERA'S LOVES OF APOLLO AND DAFNE IN A pity that reputation then went into abeyance until Raymond Leppard brought him back to life in 1967 at Glyndebourne, a much more full-bodied version than Erin Helyard's lean one for Pinchgut. In Sydney, a superb basso continuo did much the work, lead by Laura Vaughan on viola da gamba and lirone, a fearless Baroque harp fromHannah Lane and
A CONCERT WALKÜRE TO REMEMBER: KAUFMANN AND DAVIDSEN IN It was always going to be a hot ticket and it turned out to be an emotional event, with a distinct quaver in Intendant Nikolaus Bachler’s voice as he welcomed a Bayerische Staatsoper audience – albeit a much reduced one – back to the Nationaltheater after an absence of six months. It was a cast list to send shivers up one’s spine: Jonas Kaufmann, still the world’s most sought-after LA CLEMENZA: ROYAL OPERA BACK IN FRONT OF A LIVE AUDIENCE The cheers were warm and genuine. When conductor Mark Wigglesworth brought the orchestra to its feet before launching into the overture to Mozart’s La clemenza di Tito, the socially-distanced audience at the Royal Opera House, Covent Garden, sent a message, loud and clear: we are so glad to be back.After months of cultural deprivation, here at last were real, live instrumentalists and BIENVENUE SUR BACHTRACK LE SITE DE LA MUSIQUE …TRANSLATE THIS PAGE Notre politique de confidentialité a été mise à jour pour la dernière fois le vendredi 31 janvier 2020Voir ici Ignorer IN THE BLEAK MIDSUMMER: DAMIANO MICHIELETTO'S KÁTYA Many productions of Kátya Kabanová are built around the storm and the mighty river flowing through the village, but these hold little interest for Damiano Michieletto. Rather, his staging is firmly focused on Kátya’s state of mind. Bare white walls shift around the stage to represent the forces that hem her in, opening at times to reveal a chink of light through which she might escape STEALING FIRE: BEETHOVEN’S PROMETHEUS CHOREOGRAPHED AFRESH 1 day ago · From a trio of choreographers and their fiery creation to the white set and shifting neon lighting strip of the Dutch “old master”. Hans van Manen’s Grosse Fuge has an austerity which perfectly fits Beethoven’s granitic string writing. The four men in black skirts – arms stretched, fists clenched – make their muscular movements with force, the response of the four women issofter.
COLUMBUS SYMPHONY CLOSES SEASON WITH AN UPLIFTING JUPITER To conclude a concert season that was atypical to say the least, the Columbus Symphony Orchestra offered scores of Mozart and Beethoven with Stravinsky’s neoclassical homage to his predecessors as a charming centerpiece. At the podium was CSO assistant conductor Andrés Lopera, and the opulent Ohio Theatre was peppered with a small live audience, modestly capped at 300 guests. THE SHADOWS AND THE SUBSTANCE: MITSUKO UCHIDA PLAYS 3. Echoes and pre-echoes. The DNA connections to Winterreise right from the start. Sideways glances to the composer’s Ave Maria in the third Impromptu from the first set, taken quite slowly and steadily, the prayer-like responses rising ever upwards on airborne currents. From the fourth of the D.899 set, the Wanderer Fantasy registering its presence in the Trio with lyrical intensity. POPCORN, FISH DIVES AND A ROCK GUITAR LUTE: BALANCHINE AND Popcorn, fish dives and a rock guitar lute: Balanchine and Robbins at The Royal Ballet. “Make more, make it like popcorn!”. George Balanchine told Jerome Robbins after watching 25 minutes of choreography, miming the addictive act of popping popcorn into his mouth. Robbins obliged, expanding Dances at a Gathering to an hour,enough to
NO SMOKE WITHOUT FIRE? SUSANNA'S SECRET REVEALED AT It is the two singers who lifted the production from this chaotic approach. Selene Zanetti sang Countess Susanna, the seductive young wife who drives both men crazy with her innuendoes of having sinned. There was a transfigured intensity to her opulent soprano with which she praised the delights of tobacco in an aria, making the irony of this piece float, light and fleeting as the blue haze GOUNOD IN THE TIME OF CORONA: FRANK CASTORF'S MANY-LAYERED Frank Castorf’s Faust production, originally seen at the Staatsoper Stuttgart, in combination with the global pandemic has put the critical press in a unique and bizarre position.The Staatsoper, in a novel attempt to keep opera – and its at-risk audience – alive, streamed the premiere of Gounod’s tragedy live on Thursday evening with only a handful of press delegates in attendance. NEW YORK CITY BALLET'S SPRING GALA: A SIGN OF NORMALITY New York City Ballet’s Spring Gala was really a streamed film made by Sofia Coppola of various New York City Ballet dancers in dance excerpts. The video film was about 30 minutes long – a short but sweet time capsule of the company in the (hopefully) final stages ofthe pandemic.
KINDRED SPIRITS: ARGERICH AND BARENBOIM AT THE FESTIVAL DE All the music in their joyous concert was composed to delight the ear, and during a distressing pandemic there can be no higher calling. Barenboim played primo and Argerich secondo (apart from two brief numbers in Bizet’s Jeux d’enfants) in music of such intimacy that their whole beings seemed to intertwine.The salon mood was established from the outset when they broke off from a OPÉRA DE PARIS DIRECTOR ALEXANDER NEEF: DAILY SURVIVAL It would make a great opera buffa synopsis, even more fantastical than Donizetti's Le convenienze ed inconvenienze teatrali.But such is the real life of Alexander Neef, director of the Opéra national de Paris since 1st September, who turned up with the punctuality of a Swiss watch for the exclusive video conference that he has kindly granted us. . Let's skip the strange sensation of having DECLAN COSTELLO'S PERFORM STUDY HAS FACILITATED THE RETURN In July, Declan Costello – a.k.a The Voice Doctor – talked to Bachtrack about the PERFORM study, which looked at the quantity of potentially infective particles (“droplets” and “aerosol”) exhaled during singing and the playing of wind instruments, the purpose being to shed light on what would be appropriate conditions for a return to live performance. WELCOME TO BACHTRACK, THE CLASSICAL MUSIC WEBSITE FOR LIVEWHAT'S ONREVIEWSARTICLESVIDEOTRAVELTELEMANN The leading music site for worldwide reviews and listings of classical concerts, opera, ballet and dance, 12,000 upcoming events, and 200 newreviews each month.
A SEMI-SUCCESSFUL SEMI-STAGING OF DIE WALKÜRE AT A word of warning: approach this review with caution. It addresses the third performance at Longborough Festival Opera in five days – not to mention the Sitzprobe, dress rehearsal and goodness knows what else – of a notably taxing opera so inevitably, after all that, there were early signs of wear and tear in several voices. With shows shunting up every other day (presumably for reasons of OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Covid has brought radical change to always-inventive Opera Holland Park.The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand, begged and borrowed chairs in a recycling policy that extends up onto the stage, where the set from 2018’s successful La POPCORN, FISH DIVES AND A ROCK GUITAR LUTE: BALANCHINE AND “Make more, make it like popcorn!” George Balanchine told Jerome Robbins after watching 25 minutes of choreography, miming the addictive act of popping popcorn into his mouth. Robbins obliged, expanding Dances at a Gathering to an hour, enough to satisfy most balletomanes. At times, Dances can seem a little too long but there was something about this performance by The Royal Ballet LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021.There is much to enjoy in this confident production, a near-flawless musical performance led by a stellar cast, though it is let down in the end by its stilted staging. THE SHADOWS AND THE SUBSTANCE: MITSUKO UCHIDA PLAYS 3. Echoes and pre-echoes. The DNA connections to Winterreise right from the start. Sideways glances to the composer’s Ave Maria in the third Impromptu from the first set, taken quite slowly and steadily, the prayer-like responses rising ever upwards on airborne currents. From the fourth of the D.899 set, the Wanderer Fantasy registering its presence in the Trio with lyrical intensity. ORCHESTRA AND CHORUS LIGHT UP GARSINGTON'S EUGENE ONEGIN During lockdown, the Garsington pit has been expanded to the point where it can accommodate a socially distanced orchestra of 45. The Philharmonia Orchestra – 24 strings, 19 winds, timpani and harp – gave us an outstanding rendering Tchaikovsky’s score. The music is A CONCERT WALKÜRE TO REMEMBER: KAUFMANN AND DAVIDSEN IN It was always going to be a hot ticket and it turned out to be an emotional event, with a distinct quaver in Intendant Nikolaus Bachler’s voice as he welcomed a Bayerische Staatsoper audience – albeit a much reduced one – back to the Nationaltheater after an absence of six months. It was a cast list to send shivers up one’s spine: Jonas Kaufmann, still the world’s most sought-after SIX SINGERS IN SEARCH OF AN AUTHOR: IL TURCO IN ITALIA What separates Rossini’s Il turco in Italia from the opera buffa crowd is the presence of the Pirandello-esque character of the poet Prosdocimo, who is writing the plot of the opera and interacting with its characters even as the plot unfolds onstage. Unlike most stagings, in which Prosdocimo hovers around the edges, Mariame Clément’s new production for Glyndebourne places him bang in the LAURELS FOR PINCHGUT OPERA'S LOVES OF APOLLO AND DAFNE IN Given that Francesco Cavalli's second opera, Gli amori di Apollo e di Dafne specifically mentions the blinding presence of Apollo, is it enough to present him in a brilliant yellow outfit and have everyone wearing sunglasses? Not quite. For this excellent Pinchgut production directed by Mitchell Butel throws in all sorts of contemporary references, none of which stick in the craw. WELCOME TO BACHTRACK, THE CLASSICAL MUSIC WEBSITE FOR LIVEWHAT'S ONREVIEWSARTICLESVIDEOTRAVELTELEMANN The leading music site for worldwide reviews and listings of classical concerts, opera, ballet and dance, 12,000 upcoming events, and 200 newreviews each month.
A SEMI-SUCCESSFUL SEMI-STAGING OF DIE WALKÜRE AT A word of warning: approach this review with caution. It addresses the third performance at Longborough Festival Opera in five days – not to mention the Sitzprobe, dress rehearsal and goodness knows what else – of a notably taxing opera so inevitably, after all that, there were early signs of wear and tear in several voices. With shows shunting up every other day (presumably for reasons of OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Covid has brought radical change to always-inventive Opera Holland Park.The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand, begged and borrowed chairs in a recycling policy that extends up onto the stage, where the set from 2018’s successful La POPCORN, FISH DIVES AND A ROCK GUITAR LUTE: BALANCHINE AND “Make more, make it like popcorn!” George Balanchine told Jerome Robbins after watching 25 minutes of choreography, miming the addictive act of popping popcorn into his mouth. Robbins obliged, expanding Dances at a Gathering to an hour, enough to satisfy most balletomanes. At times, Dances can seem a little too long but there was something about this performance by The Royal Ballet LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021.There is much to enjoy in this confident production, a near-flawless musical performance led by a stellar cast, though it is let down in the end by its stilted staging. THE SHADOWS AND THE SUBSTANCE: MITSUKO UCHIDA PLAYS 3. Echoes and pre-echoes. The DNA connections to Winterreise right from the start. Sideways glances to the composer’s Ave Maria in the third Impromptu from the first set, taken quite slowly and steadily, the prayer-like responses rising ever upwards on airborne currents. From the fourth of the D.899 set, the Wanderer Fantasy registering its presence in the Trio with lyrical intensity. ORCHESTRA AND CHORUS LIGHT UP GARSINGTON'S EUGENE ONEGIN During lockdown, the Garsington pit has been expanded to the point where it can accommodate a socially distanced orchestra of 45. The Philharmonia Orchestra – 24 strings, 19 winds, timpani and harp – gave us an outstanding rendering Tchaikovsky’s score. The music is A CONCERT WALKÜRE TO REMEMBER: KAUFMANN AND DAVIDSEN IN It was always going to be a hot ticket and it turned out to be an emotional event, with a distinct quaver in Intendant Nikolaus Bachler’s voice as he welcomed a Bayerische Staatsoper audience – albeit a much reduced one – back to the Nationaltheater after an absence of six months. It was a cast list to send shivers up one’s spine: Jonas Kaufmann, still the world’s most sought-after SIX SINGERS IN SEARCH OF AN AUTHOR: IL TURCO IN ITALIA What separates Rossini’s Il turco in Italia from the opera buffa crowd is the presence of the Pirandello-esque character of the poet Prosdocimo, who is writing the plot of the opera and interacting with its characters even as the plot unfolds onstage. Unlike most stagings, in which Prosdocimo hovers around the edges, Mariame Clément’s new production for Glyndebourne places him bang in the LAURELS FOR PINCHGUT OPERA'S LOVES OF APOLLO AND DAFNE IN Given that Francesco Cavalli's second opera, Gli amori di Apollo e di Dafne specifically mentions the blinding presence of Apollo, is it enough to present him in a brilliant yellow outfit and have everyone wearing sunglasses? Not quite. For this excellent Pinchgut production directed by Mitchell Butel throws in all sorts of contemporary references, none of which stick in the craw. STEALING FIRE: BEETHOVEN’S PROMETHEUS CHOREOGRAPHED AFRESH 1 day ago · From a trio of choreographers and their fiery creation to the white set and shifting neon lighting strip of the Dutch “old master”. Hans van Manen’s Grosse Fuge has an austerity which perfectly fits Beethoven’s granitic string writing. The four men in black skirts – arms stretched, fists clenched – make their muscular movements with force, the response of the four women issofter.
COLUMBUS SYMPHONY CLOSES SEASON WITH AN UPLIFTING JUPITER To conclude a concert season that was atypical to say the least, the Columbus Symphony Orchestra offered scores of Mozart and Beethoven with Stravinsky’s neoclassical homage to his predecessors as a charming centerpiece. At the podium was CSO assistant conductor Andrés Lopera, and the opulent Ohio Theatre was peppered with a small live audience, modestly capped at 300 guests. THE SHADOWS AND THE SUBSTANCE: MITSUKO UCHIDA PLAYS 3. Echoes and pre-echoes. The DNA connections to Winterreise right from the start. Sideways glances to the composer’s Ave Maria in the third Impromptu from the first set, taken quite slowly and steadily, the prayer-like responses rising ever upwards on airborne currents. From the fourth of the D.899 set, the Wanderer Fantasy registering its presence in the Trio with lyrical intensity. SIX SINGERS IN SEARCH OF AN AUTHOR: IL TURCO IN ITALIA What separates Rossini’s Il turco in Italia from the opera buffa crowd is the presence of the Pirandello-esque character of the poet Prosdocimo, who is writing the plot of the opera and interacting with its characters even as the plot unfolds onstage. Unlike most stagings, in which Prosdocimo hovers around the edges, Mariame Clément’s new production for Glyndebourne places him bang in the LA CLEMENZA: ROYAL OPERA BACK IN FRONT OF A LIVE AUDIENCE The cheers were warm and genuine. When conductor Mark Wigglesworth brought the orchestra to its feet before launching into the overture to Mozart’s La clemenza di Tito, the socially-distanced audience at the Royal Opera House, Covent Garden, sent a message, loud and clear: we are so glad to be back.After months of cultural deprivation, here at last were real, live instrumentalists and GOUNOD IN THE TIME OF CORONA: FRANK CASTORF'S MANY-LAYERED Frank Castorf’s Faust production, originally seen at the Staatsoper Stuttgart, in combination with the global pandemic has put the critical press in a unique and bizarre position.The Staatsoper, in a novel attempt to keep opera – and its at-risk audience – alive, streamed the premiere of Gounod’s tragedy live on Thursday evening with only a handful of press delegates in attendance. NO SMOKE WITHOUT FIRE? SUSANNA'S SECRET REVEALED AT It is the two singers who lifted the production from this chaotic approach. Selene Zanetti sang Countess Susanna, the seductive young wife who drives both men crazy with her innuendoes of having sinned. There was a transfigured intensity to her opulent soprano with which she praised the delights of tobacco in an aria, making the irony of this piece float, light and fleeting as the blue haze DECLAN COSTELLO'S PERFORM STUDY HAS FACILITATED THE RETURN In July, Declan Costello – a.k.a The Voice Doctor – talked to Bachtrack about the PERFORM study, which looked at the quantity of potentially infective particles (“droplets” and “aerosol”) exhaled during singing and the playing of wind instruments, the purpose being to shed light on what would be appropriate conditions for a return to live performance. OPÉRA DE PARIS DIRECTOR ALEXANDER NEEF: DAILY SURVIVAL It would make a great opera buffa synopsis, even more fantastical than Donizetti's Le convenienze ed inconvenienze teatrali.But such is the real life of Alexander Neef, director of the Opéra national de Paris since 1st September, who turned up with the punctuality of a Swiss watch for the exclusive video conference that he has kindly granted us. . Let's skip the strange sensation of having STUNNING VISUALS, BUT FRANÇOIS GIRARD'S NEW FLIEGENDE The Met’s highly anticipated new production of Wagner’s Der fliegende Holländer by François Girard features some stunning visual images and evocative lighting. The audience is greeted with a large painting of an eye framed by The Met’s golden proscenium arch, extended along the bottom side, before the performance. WELCOME TO BACHTRACK, THE CLASSICAL MUSIC WEBSITE FOR LIVEWHAT'S ONREVIEWSARTICLESVIDEOTRAVELTELEMANN The leading music site for worldwide reviews and listings of classical concerts, opera, ballet and dance, 12,000 upcoming events, and 200 newreviews each month.
LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Lear. in Munich: brilliant performance, but lifelessly staged by Christoph Marthaler. Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021. There is much to enjoy in this confident production, a near THE SHADOWS AND THE SUBSTANCE: MITSUKO UCHIDA PLAYS 3. Echoes and pre-echoes. The DNA connections to Winterreise right from the start. Sideways glances to the composer’s Ave Maria in the third Impromptu from the first set, taken quite slowly and steadily, the prayer-like responses rising ever upwards on airborne currents. From the fourth of the D.899 set, the Wanderer Fantasy registering its presence in the Trio with lyrical intensity. ORCHESTRA AND CHORUS LIGHT UP GARSINGTON'S EUGENE ONEGIN Orchestra and chorus light up Garsington's. Eugene Onegin. revival. In their Fidelio last September, Garsington Opera showed their ability to navigate Covid constraints to produce an outstanding artistic result. Last night, in their revival of Michael Boyd’s 2016 production of Eugene Onegin, they showed that same ability with a fully staged OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Opera Holland Park: colour and laughter as. Figaro. opens the season. Covid has brought radical change to always-inventive Opera Holland Park. The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand A CONCERT WALKÜRE TO REMEMBER: KAUFMANN AND DAVIDSEN IN It was always going to be a hot ticket and it turned out to be an emotional event, with a distinct quaver in Intendant Nikolaus Bachler’s voice as he welcomed a Bayerische Staatsoper audience – albeit a much reduced one – back to the Nationaltheater after an absence of six months. It was a cast list to send shivers up one’s spine: Jonas Kaufmann, still the world’s most sought-after SIX SINGERS IN SEARCH OF AN AUTHOR: IL TURCO IN ITALIA Six singers in search of an author: Il turco in Italia. delights Glyndebourne. What separates Rossini’s Il turco in Italia from the opera buffa crowd is the presence of the Pirandello-esque character of the poet Prosdocimo, who is writing the plot of the opera and interacting with its characters even as the plot unfolds onstage. LAURELS FOR PINCHGUT OPERA'S LOVES OF APOLLO AND DAFNE IN A pity that reputation then went into abeyance until Raymond Leppard brought him back to life in 1967 at Glyndebourne, a much more full-bodied version than Erin Helyard's lean one for Pinchgut. In Sydney, a superb basso continuo did much the work, lead by Laura Vaughan on viola da gamba and lirone, a fearless Baroque harp fromHannah Lane and
LA CLEMENZA: ROYAL OPERA BACK IN FRONT OF A LIVE AUDIENCE The cheers were warm and genuine. When conductor Mark Wigglesworth brought the orchestra to its feet before launching into the overture to Mozart’s La clemenza di Tito, the socially-distanced audience at the Royal Opera House, Covent Garden, sent a message, loud and clear: we are so glad to be back.After months of cultural deprivation, here at last were real, live instrumentalists and SIMON O'NEILL AND THE AUCKLAND PHILHARMONIA ORCHESTRA Simon O'Neill and the Auckland Philharmonia Orchestra standouts in. Fidelio. By Simon Holden, 10 May 2021. With its series focus on Beethoven, it makes sense that the Auckland Philharmonia Orchestra chose Fidelio as its Opera In Concert for this year. Fidelio is indeed a masterwork though it suffers somewhat from trying to be everythingat the
WELCOME TO BACHTRACK, THE CLASSICAL MUSIC WEBSITE FOR LIVEWHAT'S ONREVIEWSARTICLESVIDEOTRAVELTELEMANN The leading music site for worldwide reviews and listings of classical concerts, opera, ballet and dance, 12,000 upcoming events, and 200 newreviews each month.
LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Lear. in Munich: brilliant performance, but lifelessly staged by Christoph Marthaler. Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021. There is much to enjoy in this confident production, a near THE SHADOWS AND THE SUBSTANCE: MITSUKO UCHIDA PLAYS 3. Echoes and pre-echoes. The DNA connections to Winterreise right from the start. Sideways glances to the composer’s Ave Maria in the third Impromptu from the first set, taken quite slowly and steadily, the prayer-like responses rising ever upwards on airborne currents. From the fourth of the D.899 set, the Wanderer Fantasy registering its presence in the Trio with lyrical intensity. ORCHESTRA AND CHORUS LIGHT UP GARSINGTON'S EUGENE ONEGIN Orchestra and chorus light up Garsington's. Eugene Onegin. revival. In their Fidelio last September, Garsington Opera showed their ability to navigate Covid constraints to produce an outstanding artistic result. Last night, in their revival of Michael Boyd’s 2016 production of Eugene Onegin, they showed that same ability with a fully staged OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Opera Holland Park: colour and laughter as. Figaro. opens the season. Covid has brought radical change to always-inventive Opera Holland Park. The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand A CONCERT WALKÜRE TO REMEMBER: KAUFMANN AND DAVIDSEN IN It was always going to be a hot ticket and it turned out to be an emotional event, with a distinct quaver in Intendant Nikolaus Bachler’s voice as he welcomed a Bayerische Staatsoper audience – albeit a much reduced one – back to the Nationaltheater after an absence of six months. It was a cast list to send shivers up one’s spine: Jonas Kaufmann, still the world’s most sought-after SIX SINGERS IN SEARCH OF AN AUTHOR: IL TURCO IN ITALIA Six singers in search of an author: Il turco in Italia. delights Glyndebourne. What separates Rossini’s Il turco in Italia from the opera buffa crowd is the presence of the Pirandello-esque character of the poet Prosdocimo, who is writing the plot of the opera and interacting with its characters even as the plot unfolds onstage. LAURELS FOR PINCHGUT OPERA'S LOVES OF APOLLO AND DAFNE IN A pity that reputation then went into abeyance until Raymond Leppard brought him back to life in 1967 at Glyndebourne, a much more full-bodied version than Erin Helyard's lean one for Pinchgut. In Sydney, a superb basso continuo did much the work, lead by Laura Vaughan on viola da gamba and lirone, a fearless Baroque harp fromHannah Lane and
LA CLEMENZA: ROYAL OPERA BACK IN FRONT OF A LIVE AUDIENCE The cheers were warm and genuine. When conductor Mark Wigglesworth brought the orchestra to its feet before launching into the overture to Mozart’s La clemenza di Tito, the socially-distanced audience at the Royal Opera House, Covent Garden, sent a message, loud and clear: we are so glad to be back.After months of cultural deprivation, here at last were real, live instrumentalists and SIMON O'NEILL AND THE AUCKLAND PHILHARMONIA ORCHESTRA Simon O'Neill and the Auckland Philharmonia Orchestra standouts in. Fidelio. By Simon Holden, 10 May 2021. With its series focus on Beethoven, it makes sense that the Auckland Philharmonia Orchestra chose Fidelio as its Opera In Concert for this year. Fidelio is indeed a masterwork though it suffers somewhat from trying to be everythingat the
STEALING FIRE: BEETHOVEN’S PROMETHEUS CHOREOGRAPHED AFRESH 11 hours ago · From a trio of choreographers and their fiery creation to the white set and shifting neon lighting strip of the Dutch “old master”. Hans van Manen’s Grosse Fuge has an austerity which perfectly fits Beethoven’s granitic string writing. The four men in black skirts – arms stretched, fists clenched – make their muscular movements with force, the response of the fourwomen is softer.
COLUMBUS SYMPHONY CLOSES SEASON WITH AN UPLIFTING JUPITER 1 day ago · To conclude a concert season that was atypical to say the least, the Columbus Symphony Orchestra offered scores of Mozart and Beethoven with Stravinsky’s neoclassical homage to his predecessors as a charming centerpiece. At the podium was CSO assistant conductor Andrés Lopera, and the opulent Ohio Theatre was peppered with a small live audience, modestly capped at 300 guests. A SEMI-SUCCESSFUL SEMI-STAGING OF DIE WALKÜRE AT A word of warning: approach this review with caution. It addresses the third performance at Longborough Festival Opera in five days – not to mention the Sitzprobe, dress rehearsal and goodness knows what else – of a notably taxing opera so inevitably, after all that, there were early signs of wear and tear in several voices. With shows shunting up every other day (presumably for reasons of AN ONLINE BEETHOVENATHON: ALL NINE SYMPHONIES ACROSS The choleric weather had a part to play as well. It was mostly grey over western Europe, occasionally with audible consequences. As the slow movement of Number One was drawing to a close, Daniel Harding conducting the Mahler Chamber Orchestra looked up in alarm at the rumble of thunder followed by the patter of light rain on the overhead canopy. In Helsinki there was a prolonged hiatus in LA CLEMENZA: ROYAL OPERA BACK IN FRONT OF A LIVE AUDIENCE The cheers were warm and genuine. When conductor Mark Wigglesworth brought the orchestra to its feet before launching into the overture to Mozart’s La clemenza di Tito, the socially-distanced audience at the Royal Opera House, Covent Garden, sent a message, loud and clear: we are so glad to be back.After months of cultural deprivation, here at last were real, live instrumentalists and SIX SINGERS IN SEARCH OF AN AUTHOR: IL TURCO IN ITALIA Six singers in search of an author: Il turco in Italia. delights Glyndebourne. What separates Rossini’s Il turco in Italia from the opera buffa crowd is the presence of the Pirandello-esque character of the poet Prosdocimo, who is writing the plot of the opera and interacting with its characters even as the plot unfolds onstage. GOUNOD IN THE TIME OF CORONA: FRANK CASTORF'S MANY-LAYERED Frank Castorf’s Faust production, originally seen at the Staatsoper Stuttgart, in combination with the global pandemic has put the critical press in a unique and bizarre position.The Staatsoper, in a novel attempt to keep opera – and its at-risk audience – alive, streamed the premiere of Gounod’s tragedy live on Thursday evening with only a handful of press delegates in attendance. NO SMOKE WITHOUT FIRE? SUSANNA'S SECRET REVEALED AT It is the two singers who lifted the production from this chaotic approach. Selene Zanetti sang Countess Susanna, the seductive young wife who drives both men crazy with her innuendoes of having sinned. There was a transfigured intensity to her opulent soprano with which she praised the delights of tobacco in an aria, making the irony of this piece float, light and fleeting as the blue haze VIRTUAL TOGETHERNESS: CAN VIRTUAL CHOIRS REPLACE THE REAL In July, Eric Whitacre was speaking on the BBC World Service about the first time he took part in a choir. There are an estimated 37 million choral singers in Europe in churches, in the community and in schools, with 2.2 million of them in 40,000 choirs in the UK. That feeling is what it's like to sing in a choir, with everyone in the same room DECLAN COSTELLO'S PERFORM STUDY HAS FACILITATED THE RETURN In July, Declan Costello – a.k.a The Voice Doctor – talked to Bachtrack about the PERFORM study, which looked at the quantity of potentially infective particles (“droplets” and “aerosol”) exhaled during singing and the playing of wind instruments, the purpose being to shed light on what would be appropriate conditions for a return to live performance. WELCOME TO BACHTRACK, THE CLASSICAL MUSIC WEBSITE FOR LIVEWHAT'S ONREVIEWSARTICLESVIDEOTRAVELTELEMANN The leading music site for worldwide reviews and listings of classical concerts, opera, ballet and dance, 12,000 upcoming events, and 200 newreviews each month.
A SEMI-SUCCESSFUL SEMI-STAGING OF DIE WALKÜRE AT A word of warning: approach this review with caution. It addresses the third performance at Longborough Festival Opera in five days – not to mention the Sitzprobe, dress rehearsal and goodness knows what else – of a notably taxing opera so inevitably, after all that, there were early signs of wear and tear in several voices. With shows shunting up every other day (presumably for reasons of LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Lear. in Munich: brilliant performance, but lifelessly staged by Christoph Marthaler. Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021. There is much to enjoy in this confident production, a near OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Opera Holland Park: colour and laughter as. Figaro. opens the season. Covid has brought radical change to always-inventive Opera Holland Park. The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand WELCOME TO BACHTRACK, THE CLASSICAL MUSIC WEBSITE FOR LIVEWHAT'S ONREVIEWSARTICLESVIDEOTRAVELTELEMANN The leading music site for worldwide reviews and listings of classical concerts, opera, ballet and dance, 12,000 upcoming events, and 200 newreviews each month.
A SEMI-SUCCESSFUL SEMI-STAGING OF DIE WALKÜRE AT A word of warning: approach this review with caution. It addresses the third performance at Longborough Festival Opera in five days – not to mention the Sitzprobe, dress rehearsal and goodness knows what else – of a notably taxing opera so inevitably, after all that, there were early signs of wear and tear in several voices. With shows shunting up every other day (presumably for reasons of LEAR IN MUNICH: BRILLIANT PERFORMANCE, BUT LIFELESSLY Lear. in Munich: brilliant performance, but lifelessly staged by Christoph Marthaler. Aribert’s Reimann’s 1978 Lear was originally commissioned by the Bayerische Staatsoper, and saw its world premiere in Munich, so it’s a nice bit of symmetry to see the opera come home in 2021. There is much to enjoy in this confident production, a near OPERA HOLLAND PARK: COLOUR AND LAUGHTER AS FIGARO OPENS Opera Holland Park: colour and laughter as. Figaro. opens the season. Covid has brought radical change to always-inventive Opera Holland Park. The tent-like auditorium shell remains, with extra open sides for all-important fresh air, but gone is the fixed raked seating for 1,000, replaced by a random selection of 400 moveable, second-hand POPCORN, FISH DIVES AND A ROCK GUITAR LUTE: BALANCHINE AND Popcorn, fish dives and a rock guitar lute: Balanchine and Robbins at The Royal Ballet. “Make more, make it like popcorn!”. George Balanchine told Jerome Robbins after watching 25 minutes of choreography, miming the addictive act of popping popcorn into his mouth. Robbins obliged, expanding Dances at a Gathering to an hour,enough to
ORCHESTRA AND CHORUS LIGHT UP GARSINGTON'S EUGENE ONEGIN Orchestra and chorus light up Garsington's. Eugene Onegin. revival. In their Fidelio last September, Garsington Opera showed their ability to navigate Covid constraints to produce an outstanding artistic result. Last night, in their revival of Michael Boyd’s 2016 production of Eugene Onegin, they showed that same ability with a fully staged BIENVENUE SUR BACHTRACK LE SITE DE LA MUSIQUE …TRANSLATE THIS PAGE Notre politique de confidentialité a été mise à jour pour la dernière fois le vendredi 31 janvier 2020Voir ici Ignorer VIDEO: WATCH PERFORMANCES ONLINE Bavarian State Opera. Free. La Passion selon saint Jean (mise en scène par Calixto Bieito) Les Talens Lyriques. Free. Porgy and Bess (1st February 2020) Metropolitan Opera. Free. L’Heure exquise. STEALING FIRE: BEETHOVEN’S PROMETHEUS CHOREOGRAPHED AFRESH 5 hours ago · From a trio of choreographers and their fiery creation to the white set and shifting neon lighting strip of the Dutch “old master”. Hans van Manen’s Grosse Fuge has an austerity which perfectly fits Beethoven’s granitic string writing. The four men in black skirts – arms stretched, fists clenched – make their muscular movements with force, the response of the four women issofter.
FIND CLASSICAL MUSIC CONCERT, OPERA, BALLET AND DANCE Work. Piano Concerto no. 2 in C minor, Op.18 (Rachmaninov) Symphony no. 9 in D minor "Choral", Op.125 (Beethoven) Piano Concerto no. 4 in G major, Op.58 (Beethoven) Die Zauberflöte (The Magic Flute) (Mozart) Symphony no. 2 in C minor 'Resurrection' (Mahler) Piano Concerto no. 3 COLUMBUS SYMPHONY CLOSES SEASON WITH AN UPLIFTING JUPITER 1 day ago · To conclude a concert season that was atypical to say the least, the Columbus Symphony Orchestra offered scores of Mozart and Beethoven with Stravinsky’s neoclassical homage to his predecessors as a charming centerpiece. At the podium was CSO assistant conductor Andrés Lopera, and the opulent Ohio Theatre was peppered with a small live audience, modestly capped at 300 guests. AN ONLINE BEETHOVENATHON: ALL NINE SYMPHONIES ACROSS The choleric weather had a part to play as well. It was mostly grey over western Europe, occasionally with audible consequences. As the slow movement of Number One was drawing to a close, Daniel Harding conducting the Mahler Chamber Orchestra looked up in alarm at the rumble of thunder followed by the patter of light rain on the overhead canopy. In Helsinki there was a prolonged hiatus in THE SHADOWS AND THE SUBSTANCE: MITSUKO UCHIDA PLAYS 3. Echoes and pre-echoes. The DNA connections to Winterreise right from the start. Sideways glances to the composer’s Ave Maria in the third Impromptu from the first set, taken quite slowly and steadily, the prayer-like responses rising ever upwards on airborne currents. From the fourth of the D.899 set, the Wanderer Fantasy registering its presence in the Trio with lyrical intensity. PERFORMER: GÖTEBORGS FLICKKÖR Our privacy policy was last updated on Friday 31 January 2020View ithere Dismiss
LA CLEMENZA: ROYAL OPERA BACK IN FRONT OF A LIVE AUDIENCE The cheers were warm and genuine. When conductor Mark Wigglesworth brought the orchestra to its feet before launching into the overture to Mozart’s La clemenza di Tito, the socially-distanced audience at the Royal Opera House, Covent Garden, sent a message, loud and clear: we are so glad to be back.After months of cultural deprivation, here at last were real, live instrumentalists and NEW YORK CITY BALLET'S SPRING GALA: A SIGN OF NORMALITY New York City Ballet’s Spring Gala was really a streamed film made by Sofia Coppola of various New York City Ballet dancers in dance excerpts. The video film was about 30 minutes long – a short but sweet time capsule of the company in the (hopefully) final stages ofthe pandemic.
GOUNOD IN THE TIME OF CORONA: FRANK CASTORF'S MANY-LAYERED Frank Castorf’s Faust production, originally seen at the Staatsoper Stuttgart, in combination with the global pandemic has put the critical press in a unique and bizarre position.The Staatsoper, in a novel attempt to keep opera – and its at-risk audience – alive, streamed the premiere of Gounod’s tragedy live on Thursday evening with only a handful of press delegates in attendance. Our privacy policy was last updated on Friday 31 January 2020View ithere Dismiss
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WELCOME TO BACHTRACK, _THE_ CLASSICAL MUSIC WEBSITE FOR LIVE & ON DEMAND Find videos to watch from home Find live performances Mitsuko Uchida plays Schubert's Impromptus at Wigmore HallRichard Cannon
Opera Holland Park: colour and laughter as _Figaro_opens the season
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_Lear_ in Munich
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_Il turco in Italia_ delights Glyndebourne Glyndebourne Productions Ltd. | Bill Cooper Mitsuko Uchida plays Schubert's Impromptus at Wigmore HallRichard Cannon
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_Circus Days and Nights_: Philip Glass takes opera to the big topMats Bäcker
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_Il turco in Italia_ delights Glyndebourne Glyndebourne Productions Ltd. | Bill Cooper Find LIVE EVENTS in classical music, opera and danceOrpheus Uncut
How well do you know the tale of Orpheus and the music associated with it? Here are the first 5 minute episodes from Orchester Nord. Watch a new release Wednesday - Friday this week. Latest features & interviews Aoi Trio’s path is paved with brightness Su Yeon Kim wins the latest edition of the CMlM Music without limits: the Bergen International Festival 2021 Optimism and mystery: the 2021-22 season at La Monnaie A new season to raise hopes at Zürich Opera Thomas Larcher: new piano concerto for NTR Matinee The untold story: _Orfeo Uncut_ premieres in Norway “I’ve felt very lucky to be a composer”: Missy Mazzoli New National Theatre, Tokyo launches a bright new seasonBartók in Budapest
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COVID-19 news feed:cancellations, new seasons, virtual events Bachtrack top ten: a pandemic playlist Opera is back! What to expect in the UK in summer 2021 Tsuyoshi Tsutsumi: Suntory Hall president Latest reviewsMore... ****1 LondonPopcorn, fish dives and a rock guitar lute: Balanchine andRobbins
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