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

Piotr Anderszewski gibt ein umjubeltes Rezital mit Bach, Schumann und Beethoven in Hamburg.

Mit Schubert, Britten und Schostakowitsch öffnet und schließt das Belcea Quartet auf unterschiedliche Weise Kreise.

Der polnische Pianist und das ZKO zeigen bei Haydn, Mozart und Schrekers spätromantischem Intermezzo in audiovisueller Präsentation zu wenig Biss und Wagnis.

Befreit von „dicker Kartoffelsuppe“ legen Gardiner und das LSO einen frischen Schumann vor, der mit den richtigen Stilmitteln lebensnah und mitreißend wird.

Piotr Anderszewski brilliert mit Mozarts Klavierkonzert in c-Moll, während Thomas Hengelbrock und das NDR Elbphilharmonie Orchester Mahlers Fünfte packend musizieren.

Ein Hochgenuss für Publikum und Künstler gleichermaßen war das Abonnementkonzert des Münchener Kammerorchesters, das gekonnt zeitgenössische Musik mit Mozart verband.

Die dritte Mazurka lebte ganz von der Atmosphäre, harmonischem Fluss und Rubato: zauberhaft, wie der Pianist hier die Stimmung einfing, wieder einen großen Bogen gestaltete und überzeugend Chopin mit Janáček verknüpfte!

Nikolaj Znaider und Piotr Anderszewski gastieren mit einem facettenreichen Duorecital im Kammermusiksaal der Elbphilharmonie.

Dans les pièces opus 116, 117, 118 et 119 de Brahms interprétées dans un désordre étrange comme dans la Sonate op. 111 de Beethoven, le pianiste déconcerte par son jeu décousu.

A traditional overture–concerto–symphony programme at Klosters Music proves anything but stale in dramatic performances by the Munich Chamber Orchestra. 

The Polish pianist’s Gilmore recital traverses suites by Beethoven, Chopin, Szymanowski, Bartók and Bach, benefitting from thoughtful interpretation.

In a tempestuous and exhilarating evening at the Barbican, the Polish pianist displays typical mastery of Bach, Szymanowski, Webern and Beethoven.

Piotr Anderszewski perfiló un programa finamente confeccionado en el que entrelazó obras de compositores, en principio alejados, en un recital de brillante ejecución.

Piotr Anderszewski presentó una selección de preludios y fugas de El clave bien temperado en una interpretación singular y muy personal.

Like all great quartets, each member contributed their individual voice but, in the combination of all four, they created something extraordinary and compelling.

Concluding Gardiner's Schumann cycle, it was a memorable concert, with a memorable Spring Symphony and a musical Manfred Overture. The Beethoven first piano concerto proved an unlikely hero.

Artiste à part, Piotr Anderszewski donnait au Théâtre des Champs-Élysées un récital consacré à Bach et Beethoven. Un voyage décousu qui n'a pas pleinement convaincu.

La perfección se dice de muchas maneras. Y, si de música se trata, la London Symphony Orchestra constituye una apuesta genuinamente segura -tuvimos la fortuna de comprobarlo en Madrid a comienzos de temporada-. De un modo especial, es preciso señalar, en aquellos programas que propician la colaboración de partenaires -ya sea en el podio, ya sea en los roles solistas- condignos, que correspondan sin fricción a la entidad del llamado.

How do you prepare a new production at a major opera house, then stroll across the Thames to lead a fine and distinctive Mahler Five? 

Britten and Shostakovich were great friends, so it was appropriate that both composers were represented in the Belcea Quartet's two recitals on the opening weekend of the 70th Aldeburgh Festival. 

Piotr Anderszewski played and conducted Mozart and Beethoven concertos with the Chamber Orchestra of Europe plus pieces by Bartók and Janáček. An ideal partnership and fine performances.

In a concert celebrating 25 years since his Wigmore Hall debut, Polish pianist Piotr Anderszewski presented a programme of music with which he is most at home – works by Bach, Schumann and Szymanowski

This was a clever and enjoyable concert built around anniversaries – Panufnik at 100 and Richard Strauss at the grand old age of 150. Despite the two composers being miles apart in approach and style the structures of their two pieces, a single movement building to central climax, were revealed as being similar.

Piotr Andersweski dazzles a Queen's Hall audience with a display of technical mastery and emotional commitment, before strolling from the stage with the ease of someone who has just read out a short housekeeping announcement.

Szymanowksi’s thrilling Symphony no. 4 “Symphonie concertante” for piano and orchestra is the highlight of this Istanbul Music Festival programme from Sinfonia Varsovia and pianist Piotr Anderszewski. 

Debussy, Stravinsky, Bartók and Ravel: this program was a perfect opportunity for the Orchestre de Paris to show off its beautiful playing and brilliant technique with modernist masterpieces.

If it was a little strange that Esa-Pekka Salonen’s 30th anniversary with the Philharmonia was celebrated with a traditional, unadventurous Sunday matinée programme which did little to challenge its audience, at least the quality of the performance made it clear why this conductor is so well loved and respected.

This creative SCO programme offered two works in either half, performed in reverse chronological order. Virtuoso violinist Alexander Janiczek directed the first of each pair, beginning with Schubert’s 1817 Overture in D major “In the Italian Style”, D.590.

Piotr Anderszewski seated himself on a chair without any fuss and eased into the Allemande of Bach’s French Suite no. 5 in G with a soft touch. His rounded notes, subdued in the left hand, not too sparkly in the right, were as far as you could get from the quirky, angular style of Glenn Gould, who rules in Toronto, his home turf.

At age 43, Polish pianist Piotr Anderszewski is known for his sensitive touch, technical versatility and probing musicianship, with a wide repertory that spans the works of Bach, Beethoven, Chopin, Janáček, Schumann and Szymanowski, among others.

Vive la France! Last night’s Philharmonia concert was a very Gallic affair; a celebration of French music conducted by the French conductor Stéphane Denève. Fauré’s Pelléas et Mélisande, Debussy’s La Mer and Ravel’s La Valse were all written between 1898 and 1920. The composers are further linked by friendship and an entanglement à trois: Debussy’s second wife was previously the lover of Fauré.

Pianist Piotr Anderszewski’s recital at the Barbican Centre had a surprise up the sleeve even before it started. As the audience entered the hall, Anderszewski, in casual dress, was already on the stage, sitting on a sofa placed by the piano and reading a book with a mug of tea in his hand.