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

Für sein Recital in München wagte sich der Pianist neben einer Auswahl an Préludes von Rachmaninow auch an Beethovens Hammerklaviersonate.

Jewgeni Kissin zeigte hohe Fingerfertigkeit bei Bartóks Klavierkonzert, während das NDR Elbphilharmonie Orchester unter Thomas Hengelbrock hervorragende Streicherklänge bot.

Verdichter, Veredler, der Musik Ausgelieferter, überirdisches Talent: Jewgenij Kissin überwältigt sein Publikum im Münchner Gasteig.

Evgeny Kissin ofreció un recital bajo el auspicio de Ibermúsica en el que nos descubrió su personal y poderosa visión de las sonatas de Beethoven. 

Beethoven 250 – no fewer than three Sonatas, 21 variations, a fugue, two bagatelles and six écossaises – delivered with urgent energy and exuberant joy by Kissin.

Étourdissant, le pianiste a réalisé une performance de haut vol lors d'une soirée intégralement consacrée à Beethoven.

Étrange sensation que produit Evgeny Kissin, géant de l'art pianistique mais interprète sans fièvre et sans élans du Concerto n° 2 de Liszt, avec Robert Trevino et l'Orchestre de Paris.

Kissin the mature artist speaks to Beethoven's architectural depths in the Swiss mountains. 

Ante una gran expectación y en un auditorio lleno hasta los topes, Evgeny Kissin ofreció un recital en Madrid que ha dejado una impronta excelsa e indeleble.

Un récital d’une admirable unité ! Les Chopin de Kissin furent hiératiques, son Schumann d’une justesse absolue et ses Debussy comme dans un rêve. Un voyage à vivre assurément.

There was a palpable sense of communion during a performance bringing these great musicians together at Carnegie Hall for the first time. 

Evgeny Kissin gave a performance of immense power, energy and musical intellect in Beethoven's monumental Hammerklavier and a selection of Rachmaninov Preludes.

Emerson, l’un des très grands quatuors de ces quarante dernières années, ne serait-il plus que l'ombre de ce qu'il était ? 

Evgeny Kissin dans le deuxième concerto pour piano de Bartók, avec Lawrence Foster à la tête de l'Orchestre national de France. Un engagement et une déterminatin à toute épreuve.

Le grand pianiste Evgeny Kissin, que l'on retrouve à l'occasion de son récital à la Fondation Louis Vuitton dans une Hammerklavier à l'Adagio dénudé et intemporel, et dans une sélection de préludes de Rachmaninov, dans lesquels il excelle.

Kissin court hardiment le clavier, toucher fantastique en prime, et ce sont certainement pas les idées qui manquent. Mais comment est-il encore possible, à ce niveau, de commettre pareilles fautes de goût, de pratiquer aussi éhontément l’emphase ?

Russian piano virtuoso Evgeny Kissen taps his Yiddish roots for an engaging concert of solo piano works by lesser-known Jewish composers and a classic Yiddish poetry recital.

Kissin's always stellar recital highlighted by a selection of works from Spain.

Kissin's formidable take on Tchaikovsky's warhorse was a night to remember.

Carnegie Hall opened its 125th anniversary season with the help of one of the world’s greatest living composers, one of the world’s greatest performers, and one of the world’s greatest orchestras.

It was during this second half of the concert that concert-goers were rewarded with Mr Kissin’s inimitable technique, a full range in sounds filling the hall, and of course that element of uexpectedness that draws such large crowds year after year.

David Fay reviews Evgeny Kissin playing Schubert and Scriabin at the Barbican Hall, London.

Pianist Evgeny Kissin and conductor Vladimir Ashkenazy joined the Philharmonia orchestra in Tchaikovsky’s First Piano concerto and Fifth Symphony, and a rare symphonic ballad, The Voyevoda.

Michael Tilson Thomas conducted the London Symphony Orchestra in a programme of Russian music with star soloist Evgeny Kissin, whose Tchaikovsky concerto partially fulfilled expectations, but not more.

With a gleaming, glistening chord of purest A major, the man New Yorkers love to call “the Maestro” returned to the concert stage. His last public performance was a Die Walküre in May 2011, one that took its searing emotional power by maintaining the constant impression that it was about to disintegrate musically, just as Wotan’s worlds fell apart on stage and the conductor’s body buckled.

Evgeny Kissin is more than a collection of bones and flesh and crazy hair: he is a sensation. Every May for the past several years, the pianist has performed a recital on the Perelman stage at Carnegie Hall, and every year the tickets have sold out by mid-October, seven or eight months in advance. These recitals are the pinnacle of any concert-goer’s season.

Let me first describe the sound of the applause: taut, front-heavy, explosive. This was before Evgeny Kissin played his first note at Symphony Hall this past Sunday. It was a packed house, with an audience that spilled out of the choir loft and onto several rows of chairs wrapped around the piano.

When Evgeny Kissin first walked on stage at the Barbican Centre, his gentle smile and humble demeanor seemed ill equipped for the exuberance of Liszt’s piano works. But from the moment notes first spilled out from the piano, Kissin had the audience transfixed.