Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Busoni

Ferruccio Busonis Klavierkonzert gehört zu den anspruchsvollsten der Konzertliteratur. In Leipzig geben Igor Levit und Sir Antonio Pappano das lange selten gespielte Werk zum Besten. 

Bei „Klassik vor Acht” geben zumeist junge Nachwuchspianisten etwa einstündige Konzerte. Was Anna Gourari dabei aus den Tasten zauberte, war eigenwillig, feinsinnig, temperamentvoll, lyrisch, wuchtig, zart und energetisch zugleich - kurzum, eine Sternstunde der Klavierkunst.

Igor Levit, ein Meister der leisen, verhaltenen Töne, berührte das Publikum in der Zürcher Tonhalle mit drei Beethoven-Sonaten, einer Partita von Bach und Busonis Fantasia nach J.S. Bach.

Edward Gardner, Benjamin Grosvenor and the LPO give a great performance of Busoni's mammoth Piano Concerto. 

Entre le concert de l'ensemble Os Músicos do Tejo, la messe mozartienne du dimanche matin, la soirée symphonique en plein air et les concerts de musique de chambre, tous les goûts sont à Marvão !

En trio, le violoniste letton livre une lecture bouleversante d'œuvres de compositeurs contemporains méconnus, avant un Trio « Élégiaque » n° 2 de Rachmaninov plus ordinaire.

An unusual but inspired programme of Riisager, Gershwin and Korngold finds a very receptive audience in Singapore. 

Dans Clara Schumann, Busoni, Franck et Ravel, les mains de l'artiste britannique trompent la mécanique du piano, donnant lieu à un récital merveilleux de raffinement.

Kissin’s Cleveland recital featured works of Bach, Mozart, Beethoven – and predictably, a hearty helping of Chopin.

A first performance in Leonidas Kavakos' Perspectives series showcases his great partnership with Yuja Wang. 

The program prominently featured compositions by Canadian composer Claude Vivier alongside works of Haydn and Busoni.

Christian Thielemann shows his lighter side, while the Berlin Philharmonic play music they haven't touched in nearly a century.

The stylish boulevards of Ibert's Flute Concerto are the destination for the Berliners before a wild journey into Berlioz' frenzied psyche in his Symphonie fantastique. 

In his Zankel Hall recital, Gerstein underlined with purposeful clarity the fecundating power of just a few thematic ideas.

This titanic performance of Busoni’s 70-minute concerto was riveting, but exhausting to hear. It was preceded by a sparkling reading of Haydn’s “Military” Symphony.

The Ulster Orchestra present a programme of classical elegance and sunshine; Rustioni is joined by Francesca Dego in an exceptionally sophisticated performance of Mozart’s Violin Concerto no. 3. 

Levit transfigured one more time the musical material in a sort of new, life-affirming way. 

Fourth time's a charm as pianist Igor Levit returns to Birmingham for a tremendous recital. 

Violinist Veronika Eberle has a successful San Francisco debut with the tricky Schumann concerto while the SF Symphony sounds somewhat limp under Robert Abbado with Busoni's Turandot and Mendelssohn's Scottish. 

Sakari Oramo returned to Symphony Hall to lead Sibelius' Symphony no. 3 in C major and Busoni’s rarely performed, grandiose Concerto in C for Piano, Orchestra and Men’s Chorus with Kirill Gerstein.

Leonidas Kavakos, the 2016-2017 New York Philharmonic season Artist-in-Residence conducts the ensemble in an ecclectic program.

A remarkable evening of exceptionally fine pianism and inventive programming, featuring seven of the UK's leading pianists in rich and varied repertoire.

En ce samedi 4 juin la Salle Gaveau a l’honneur et la chance d’accueillir le pianiste israélien Boris Giltburg, pour un récital organisé par l’association des « Amis de Marie-Laure » en coproduction avec la Salle Gaveau.

Fauré trop lourd, Busoni assez brouillon, et Brahms trop statique, par les musiciens de l'ONF dirigés par James Gaffigan, avec Renaud Capuçon au violon.

A concert of music from the beginning of the 20th century with Pons and the BBCSO, including a performance of music by neglected opera composer Franz Schreker.

“Imitation is the sincerest form of flattery”, goes the familiar phrase, and that can be applied in life to any number of things, including music. Were the father of harmony, Johann Sebastian Bach, still alive today, he would be beyond flattered.

It’s pretty rare for a major concert hall to program more than ten minutes of music that was composed post-1900, and it’s even rarer to see an entire program of music that was composed post-1900. But at Carnegie’s Zankel Hall Monday evening, that’s exactly what the audience was treated to, courtesy of pianist Nicolas Hodges. Mr.