Bachtrack

Lancé en janvier 2008, Bachtrack se positionne comme le premier site dédié à la musique classique, à l'opéra et à la danse à l'échelle mondiale, que ce soit en salle ou en streaming. Chaque année, nous recensons plus de 30 000 événements et publions environ 130 critiques mensuelles rédigées par une équipe de 150 rédacteurs répartis à travers le globe. Nous avons également la chance d'interviewer des chanteurs d'opéra renommés, des artistes de talent d'aujourd'hui et de demain, ainsi que des figures clés qui travaillent en coulisses. De plus, nous mettons en avant des festivals, des concours et les nouvelles saisons. Notre site est accessible en anglais, français, allemand et espagnol, et nous disposons de rédacteurs en chef spécialisés pour chaque langue. Plus de 250 000 visiteurs mensuels naviguent sur notre plateforme depuis le monde entier.

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Rambert x (La) Horde: Bring Your Own is dance for the millennials

3 days ago | bachtrack.com | Graham Watts

The bringing together of the oldest and largest contemporary dance ensemble in the UK and the artistic triumvirate of (La) Horde was a fascinating prospect, especially given the idea of the whole event, a triple bill, being a raucous party, as indicated by the collective title of Bring Your Own (a throwback to many such invitations in my student days – although sadly, too long ago to really remember!).
The Royal Ballet, Wheeldon's Ballet to Broadway: never a dull moment

3 days ago | bachtrack.com | Graham Watts

The Royal Ballet should curate a Christopher Wheeldon evening every season since there is enough of his fascinating and diverse choreography to last for several years to come. Given that he is probably not yet at his choreographic prime, the prospect of regular Wheeldon evenings is even more tantalising. Although three of these four pieces were new to The Royal Ballet, an opportunity was missed to commission an entirely new work. Lukas B.
From Bach to Shostakovich, Evgeny Kissin a commanding force

6 days ago | bachtrack.com | Sam Jacobson

Season after season, there’s few things I look forward to more than a solo piano recital from Evgeny Kissin. The present offering traversed repertoire from the Baroque to the 20th century, drawing a substantial and enthusiastic crowd to Severance Hall on a Wednesday evening. Bach’s Partita no. 2 in C minor opened. Bold and coloristic, the introductory Sinfonia made for the most dramatic of beginnings.
A Diaghilev celebration from BRB2

1 week ago | bachtrack.com | Mark Pullinger

When the London Philharmonic performed Daphnis et Chloé with a thrilling Australian circus ensemble during the Southbank’s Multitudes festival recently, a few of us wondered when we would ever see the ballet danced again.
Comme une évidence : le Trio Pantoum aux Bouffes du Nord

1 week ago | bachtrack.com | Tristan Labouret

Provoquant des sourires chez les fans de musique de chambre venus nombreux au Théâtre des Bouffes du Nord, voilà le Trio Pantoum qui attaque en guise de bis le deuxième mouvement du Trio de Ravel, intitulé... « Pantoum ». Et immédiatement, c’est l’évidence.
Andrey Gugnin dans une parenthèse d'espace-temps Salle Cortot

1 week ago | bachtrack.com | Alain Lompech

Pour le dernier récital de leur saison 2024-2025, Les Nuits du piano retrouvent la Salle Cortot pour présenter Andrey Gugnin aux Parisiens qui le connaissent surtout par ses enregistrements Hyperion. Il a remporté des prix dans des grands concours dont celui de Sidney en Australie et celui de Dubaï, voici un peu plus d'un an.
Salonen brings Bryce Dessner's Violin Concerto to the LA Philharmonic

1 week ago | bachtrack.com | Cameron Kelsall

Esa-Pekka Salonen concludes his tenure as Music Director of the San Francisco Symphony next month. Last weekend found him not in Northern California but down south, where he visited his former outfit, the Los Angeles Philharmonic. He brought along a treasure that he commissioned for San Francisco: a Violin Concerto written by rock guitarist turned prolific composer Bryce Dessner.
Claus Guth directs a tormented, harrowing new Salome at the Met

1 week ago | bachtrack.com | Robert Levine

When one first meets the eponymous heroine of Richard Strauss’ 1905 opera Salome, based on Oscar Wilde's play, it is in medias res; the only thing we know is that the young captain Narraboth finds her particularly beautiful. Within ten minutes of her entrance, we realize that this 16-year old princess is morally corrupt, oversexed, cruel, spoiled and probably a sociopath. How could this have happened, even within the lascivious court of King Herod?
A big and bold Turandot in Kansas City

1 week ago | bachtrack.com | Hilary Stroh

One sees why critics grapple with Turandot. The mythic elements are extremely potent and indeed transgressive in that they reverse the more usual pattern of eroticised violence by depicting a chaste female ruler as the ritual murderer of desirable (and desirous) males. It’s a form of violence occasioned by a rejection (not the indulgence) of eroticism, a rejection exacted by the rape of a female ancestor.
Le retour apprécié du Freischütz au TCE en version concertante

1 week ago | bachtrack.com | Stéphane Lelièvre

Mais pourquoi diable une œuvre aussi réputée que Le Freischütz se fait-elle aussi rare sur nos scènes ? Sont-ce les dialogues allemands qui effraient les directeurs de théâtre ?