Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Chromatische Fantasie und Fuge in d-Moll, BWV 903

Im Eröffnungskonzert des vom Lucerne Festival über Auffahrt ausgerichteten Klavier-Festes begeisterte Igor Levit mit einer umwerfenden Interpretation der von Liszt verfertigten Klavierfassung der Dritten Symphonie Beethovens.

Im Alter von 88 Jahren erkundet Pianist Paul Badura-Skoda im Musikverein noch immer zentrales Wiener Repertoire mit unverwechselbarem, idiosynkratischem Ansatz.

Lauréate du Concours Chopin en 2010, la pianiste russe a admirablement recréé la galaxie des Préludes op. 28 du compositeur, après une première partie Bach-Liszt déjà très consistante.

Un recital en el que la voz única de cada intérprete estuvo en perfecta sintonía con el espíritu del compositor, a la vez que al servicio del conjunto, resultando en un evento verdaderamente significativo.

Sir Andràs Schiff ofreció un concierto estelar en la primera semana del Festival Internacional de Santander.

Igor Levit's Carnegie Hall programme evolves into a journey through interconnected musical worlds, revealing unexpected parallels and contrasts. 

Dans la grande salle Pierre Boulez, le pianiste a proposé un programme passionnant, d'une grande intelligence mais limité par une technique pianistique et un imaginaire sonore particuliers.

Sir András Schiff’s seventh visit to Toronto’s Koerner Hall was an almost three-hour-long feast of “quality” music by his musical heroes.

The Russian pianist returns to the stage of the Accademia Nazionale di Santa Cecilia with a very unusual programme, from a Bach fantasia to Rachmaninov's romances.   

El pianista ruso ofreció un recital imborrable con obras de Bach, Chopin y Rachmaninov que se dedicó a la memoria de Alicia de Larrocha.

El pianista András Schiff debutó en el Festival de Granada con un recital de obras de Bach y Beethoven con una íntima conexión entre ellas.

Core repertoire from across nearly two centuries formed the basis of a recital programme that forged a link from Bach to Ravel.

The penultimate concert in the Valletta International Baroque Festival series was a recital of Bach’s keyboard music. The venue for this concert was the Sala Isouard, part of the 17th-century Bonici Palace which now forms part of the foyer to the Manoel Theatre.

The eagerly awaited second Sydney concert in Angela Hewitt’s current Musica Viva tour began with the Chromatic Fantasia and Fugue in D minor, one of Bach’s most popular individual keyboard works. Both the improvisatory first section and the fugal section proper make extensive use of notes not found in the D minor scale, hence the description “chromatic”, meaning “coloured”.

I must admit that Bach through Brass, as this concert was entitled, filled me with a certain amount of trepidation. Bach, on instruments for which the music in the programme was not designed, on instruments which were not even around in Bach’s time (at least not in their modern-day form), did not sound immediately appealing; nevertheless, something drew me in, and I was pleasantly surprised.

“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.

Pianist Joyce Yang, silver medalist in the 2005 Van Cliburn International Piano Competition, returned to Fort Worth for a solo recital this week. The eclectic program, in her words a “collage,” consisted of a broad mix of styles, well balanced and thoughtfully organized.

In the last concert of the season at Sutton House, Penelope Roskell, acclaimed British pianist and Professor of Piano and Piano pedagogy at London's Trinity Laban Conservatoire of Music and Dance, juxtaposed the reason and intellect of Bach with the mercurial romance of Schumann in a fascinating and very well-attended concert.Sutton House is truly one of London’s ‘hidden gems’.