Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Klaviersonate Nr. 28 A-Dur, Op. 101

Ein Abend großer Kontraste mit viel Leidenschaft, Nähe und Raum für Interpretation.

Am siebenten Abend schimmerte der Höhepunkt eines jeden Beethoven-Sonaten-Zyklus.

Der koreanische Pianist Chi Ho Han gab ein fesselndes Recital mit Klassischem und Modernem in einer unvergleichlichen Alpenszenerie.

Der Pianist Rudolf Buchbinder spielt den dritten der insgesamt sieben Abende des großen Beethoven-Sonaten-Zyklus. Voller Abwechslung und Spannung gelingt es dem Pianisten, seinem Publikum einen Einblick in die Seele des Komponisten zu gewähren.

Le pianiste livre un récital Bach-Chostakovitch-Beethoven-Prokofiev d'une grande beauté sonore mais qui intrigue plus qu'il n'emporte.

In Goode’s performance, Beethoven’s sonata appeared equidistant from the music of Bach and Schumann that preceded and followed it in the programme. 

Au Festival Piano Pic, Adam Laloum donnait un récital à l'abbaye cistercienne de l'Escaladieu. Beethoven, Schumann et Schubert étaient au programme de ce concert consacré au romantisme allemand.

On top of all his skill and eloquence throughout, Rafał Blechacz still sounded born to play Chopin.

Intimacy mixes with grandeur in Beethoven playing of rare authority in Berlin.

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. 

Samedi dernier, dans l’Amphithéâtre de la Cité de la Musique, Cédric Tiberghien projetait sur Beethoven une singulière lueur. En traversant ces quatre sonates avec une abnégation et un sang-froid véritables, il s’est libéré et a libéré en même temps le public

A gladiatorial setting of one man, one piano, two thousand spectators: the piano's slightly rakish angle was going to allow a few hundred more people to see András Schiff's hands in action. 

It is a sign of the times that a celebrated Bach interpreter like Angela Hewitt should have begun her recital with a series of arrangements of Johann Sebastian’s music.

The more you read about music, the more you notice the word “authenticity” cropping up annoyingly frequently. The great raging musical arguments of the late 20th century still burn; performers, listeners, even composers find themselves having to take up quasi-moralistic stances on gut strings, vibrato, and whether trills should begin on the upper or lower note.

Many musicians would be grateful enough to know that a concert would one day be held in honour of their music, let alone their shadow, but the legacy of the great Mr. Ludwig van Beethoven was deservedly the focus of the final Conversational Concert of this series with pianist and lecturer Karl Lutchmayer.

With his wild hair and frowning brow, French pianist François-Frédéric Guy bears more than a passing likeness to Ludwig van Beethoven, so it seemed entirely appropriate to be listening to a recital in which the Frenchman played three of the Old Radical’s most well-loved and well-known piano sonatas, nicknamed the ‘Pastoral’, the ‘Moonlight’ and the ‘Hammerklavier’.