Powerful, syncretic if we take the Credo in its most universal sense, the Mass in B minor is one of the most profound and hermetic monuments in the history of music. As Cioran once cheekily opined, “If anyone owes everything to Bach, it's God!”
For Easter Monday, Bach’s Oratorio for the holiday written exactly 300 years ago. Conductor Christophe Rousset leads Les Talens Lyriques in a score they know well.
In response to the Brahmsian drama, marked by mystery and wildness, we have one of Sibelius's most optimistic compositions. And between the two, these last songs, which are not just those of Strauss's, but a “farewell” to Romantic song.
In response to the Brahmsian drama, marked by mystery and wildness, we have one of Sibelius's most optimistic compositions. And between the two, these last songs, which are not just those of Strauss's, but a “farewell” to Romantic song.
For over forty years, the Estonian Philharmonic Chamber Choir, founded by Tönu Kaljuste, has been the preferred interpreter of Northern European choral music, especially that of its compatriot Arvo Pärt, which it has helped to spread around the globe.
The Easter festivities continue with Handel’s oratorio La resurrezione, performed by Les Arts Florissants, which over the years has interpreted many of the Baroque master’s lyrical and sacred scores.
With ‘KaiserRequiem’, Omer Meir Wellber defies convention by interweaving Ullmann's chamber opera, rescued from the Nazi terror, with Mozart's timeless masterpiece, the Requiem, composed in a face-to-face encounter with death in 1791.
With ‘KaiserRequiem’, Omer Meir Wellber defies convention by interweaving Ullmann's chamber opera, rescued from the Nazi terror, with Mozart's timeless masterpiece, the Requiem, composed in a face-to-face encounter with death in 1791.
Jordi Savall conducts one of Schumann’s major works, which was a great success at its premiere in 1843: rarely in the romantic composer’s oeuvre does the voice resound with such tenderness and fervour as in as in Paradise and the Peri.
After Beethoven’s brillant Leonore Overture No. 3, the Orchestre National d’Île-de-France performs two major choral works, Fanny Hensel’s feverish Hiob and Schubert’s Mass No. 5, which it took him three years to write.
Debussy’s shimmering, pictorial score finds resonance with the work of Olivier Messiaen, a great colourist of orchestral material, at his best in Chronochromie, rich with the sounds of nature.
The Pygmalion choir and orchestra, and its conductor Raphaël Pichon, like to juxtapose contrasting works while reviving the spirit in which they were created. They are joined here by two faithful accomplices, Sabine Devieilhe and Stéphane Degout.
With En Masse, its show featuring ten acrobats and three musicians, the innovative Australian company Circa has crafted a stunning stage creation about human relationships, musically structured around pieces by Schubert and Stravinsky.
The high-flying duo formed by Jonas Kaufmann and Diana Damrau continue their exploration of the Germanic repertoire, accompanied on piano by lieder master Helmut Deutsch.
Concert Pulse
