Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Jean-Efflam Bavouzet

Mitreißender Spannungsbogen bei Lutosławskis Dritter Symphonie mit dem Radio Filharmonisch Orkest unter Edward Gardner und auch Jean-Efflam Bavouzet glänzte in Bartóks Erstem Klavierkonzert.

Eine "klassische", auf Klarheit und Transparenz bedachte Interpretation, mindestens ebenbürtig zu denen bekannter Spitzenorchester, in manchen Aspekten sogar überlegen: wo sonst bekommt man Rachmaninow in dieser Klarheit geboten? 

A coherent, finely balanced traversal in Alice Tully Hall is shaped by clarity, restraint and expressive poise. 

All good things must come to end, but Manchester Camerata's Mozart piano concerto cycle did so in exceptional style in Stoller Hall.

How many of Albéric Magnard's 22 works do you know? Jean-Efflam Bavouzet and the Orsino Ensemble perform his Quintet in D minor to Wigmore Hall and it becomes the sixth star of the evening. 

Ce 14 juillet, la Ferme de Saint-Maurice a résonné de la poésie et de l'éclat de pièces de Debussy, Liszt, Bartók et Ravel, en clôture du Festival de Bellerive.

Gábor Takács-Nagy and Jean-Efflam Bavouzet tackle Mozart's Piano Concertos nos. 24 and 25 with the Manchester Camerata with their usual panache.

Two unusual French orchestral works bring a unity to a Philharmonic Hall programme mixing the familiar and the unfamiliar. 

A truly committed performance of César Franck's Piano Quintet, a work that is played too rarely and is often misunderstood by performers and audience alike. 

The Manchester Camerata continue their cycle of Mozart piano concertos with Gábor Takács-Nagy and Jean-Efflam Bavouzet

Le récital matinal du pianiste dans Haydn, Clementi et Liszt est un exemple de maîtrise stylistique et d'inspiration poétique.

The players gathered at the bar for a Scotch as the credits rolled. After three hours and twenty minutes of note-taking, I decided to follow suit.

The French pianist's account of Ravel's G major concerto is the highlight of a nearly all-French programme under Emmanuel Krivine. 

In an evening of Hungarian and Bohemian inspired music, Jean-Efflam Bavouzet sparkles in a performance of Bartók’s Third Piano Concerto.

François-Xavier Roth está consiguiendo con Les Siècles crear un sonido propio a partir de un culto preciosista a los matices y a la exactitud interpretativa. Su gesto dinámico y marcado encuentra en la formación un fiel reflejo que convierte cada obra en singular y sugerente.

Jean-Efflam Bavouzet shines in Belfast, playing Ravel's Piano Concerto in G major.

Dvořák is diminished in the wake of Bartók’s experimental zeal and Strauss’ fearless convolutions.

What a great composer, and what a great advocate for his genius.

A four-hour concert featuring piano music by Debussy might seem like an excessive ask, but the Perth Festival filled the venue for this stunning and highly entertaining concert by French pianist Jean-Efflam Bavouzet.

The world première of Arlene Sierra's Nature Symphony opened a splendid concert by the BBC Philharmonic under the baton of Ludovic Morlot.

Like Sibelius, Florent Schmitt was another composer of great longevity. This concert saw an opportunity to hear his Symphony No. 2 paired with Sibelius' Symphony No. 3, with two piano pieces by Ravel and Franck in the middle.

Jean-Efflam Bavouzet's Edinburgh recital, which consisted of sonatas by Beethoven and works by Ravel and Debussy, was just pure delight, from first note to last. 

Games of various types pirouetted in and out of Les Siècles' Gallic programme last night, from Debussy's play of the waves in La Mer to the shenanigans of a distinctly adult game of tennis in his ballet Jeux.

Vladimir Jurowski built on the Cleveland Orchestra’s existing mastery of Debussy, along with a virtuosic performance by Jean-Efflam Bavouzet of Ravel’s G major piano concerto, and a recent work by Marc-André Dalbavie.

Spanish conductor Jesús López Cobos’ debut appearance with the BBC Philharmonic produced some wonderful results with a thoughtful and widely-varying programme of twentieth century music.

Un López Cobos clarividente y en absoluta sintonía con los músicos exprimió al máximo el magnífico momento de forma de los mismos para dar vida a una Cuarta absolutamente inefable

Prom 29 had a distinctly French flavour, with themes of dance and birdsong running through the programme in a glittering performance of music by Mozart, Ravel, Messiaen and Stravinsky.

French pianists François-Fréderic Guy and Jean-Efflam Bavouzet returned to London’s Wigmore Hall to present a programme of three 20th century orchestral scores transcribed for two pianos. 

Un programme français de toute beauté pour l'ONF qui résonne par-delà la frontière pyrénéenne sous la direction de Juanjo Mena ; outre le rare concerto pour piano de Pierné, rien de moins que la première suite de Carmen de Bizet, Iberia de Debussy et la Rapsodie espagnole de Ravel. 

Jean-Efflam Bavouzet gave his thought-provoking, violent and percussive take on Bartók, Ravel and Beethoven - intelligent and uncompromising performance at its best. 

 Jean-Efflam Bavouzet impresses in Gallic repertoire, but his Beethoven took longer to win our reviewer around. 

Works from Magnus Lindberg, Prokofiev and Shostakovich set the tone for an exciting forthcoming season from the LPO.

Vladimir Ashkenazy and the Philharmonia received the largest ovation I have seen for a visiting orchestra in Manchester, delighting the Bridgewater Hall with works by Sibelius, Rachmaninov and Tchaikovsky.

Prom 30 saw the return of the BBC Philharmonic Orchestra under its Conductor Laureate Gianandrea Noseda with a Russian-themed programme. Prokofiev, Borodin and Tchaikovsky were played alongside Edward Cowie’s BBC commission and world première Earth Music I – The Great Barrier Reef.The Borodin overture and Polovtsian dances from Prince Igor served as an energy-injection to the start of the evening.

My last encounter with conductor Susanna Mälkki was her debut with the Los Angeles Philharmonic two and a half years ago. I was impressed with her crisp style of conducting that delivered near-seismic impact in Richard Strauss’ Also Sprach Zarathustra.

Although this was ostensibly a recital featuring the music of two composers, a third, much less venerable one, also managed to leave his mark on proceedings. The figure in question is Carl Czerny, the one-time pupil of Beethoven’s whose banal piano studies proved to be the springboard for the first of Claude Debussy’s own, far more inventive forays into the genre.

There is nothing quite like an all-Beethoven programme for filling a large concert hall. Last night’s offering from the RSNO in Edinburgh’s Usher Hall was ample proof of this, with hardly a spare seat anywhere in the house.

Judging by this evening’s performance, the future of music-making in Birmingham is in safe hands. Following an intensive half-term week’s training, including sectional coaching by musicians from the parent orchestra, 100 eager and accomplished 14- to 21-year-olds brought the Symphony Hall stage to life.

Continuing with Sibelius, the Sydney Symphony presented another Finnish epic in their latest concert, this time Sibelius’ Kullervo Symphony. However, first of all we were treated to a Ravel masterpiece, his Piano Concerto in D for the left hand.This concerto was commissioned by the pianist Paul Wittgenstein, who had lost his right arm in World War I.

New York’s Mostly Mozart Festival continued Friday evening with three works, all marvelous and presented in reverse-chronological order. After Witold Lutosławski’s Muzyka żałobna, the orchestra and conductor Louis Langrée were joined by French pianist Jean-Efflam Bavouzet for Bartók’s Piano Concerto no. 3, and the concert concluded with Mozart’s Symphony no. 39 in E flat major.

To perform so many of Debussy’s works in one sitting requires a certain amount of skill and understanding. The charismatic pianist Jean-Efflam Bavouzet opened our eyes to the impressionistic world of Claude Debussy in this special three-part concert for the Cheltenham Music Festival.

In a neat piece of programming, Monday’s Wigmore Hall lunchtime concert brought together two French master-pianists to play two French masterpieces for the ballet, Debussy’s Jeux and Stravinsky’s Rite of Spring, both transcribed for two pianos.The works are, in fact, old friends, and were both introduced to the world by the Ballets Russes, in 1913.

Paul Dukas' success rests almost exclusively upon his symphonic scherzo L'apprenti sorcier ("The Sorcerer's Apprentice").

Prom 15 given by Vladimir Jurowski and the London Philharmonic Orchestra was billed as a “Hungarian Prom” and featured music of Kodály, Bartók and Liszt.

Listening to an orchestra at the Royal Albert Hall is a bit like watching a gladiatorial contest between the orchestra and the hall. If the orchestra prevails, the sound comes through clean and well-defined. If not, the hall's giant size and booming acoustic turn the results to mush.