Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Violinsonate g-Moll

Das Trio begeistert im Kammermusiksaal der Philharmonie mit Chopin, Strawinsky und Debussy.

Music in the shadow of war - Musik im Schatten des Krieges. Wie kunstvoll Angst und Schrecken auf das Schaffen unterschiedlicher Komponisten Einfluss nahmen, zeigten Steven Isserlis & Friends im Großen Saal der Stiftung Mozarteum an Werken von Debussy, Fauré, Strawinsky, Zoltan Kodály und Edward Elgar. 

A varied programme of chamber music charms the Berlin Phil, featuring works by Widmann and a premiere by young talent Tsotne Zedginidze.

Un programa de sonatas para violín y piano con Vadim Repin y Nikolai Lugansky que concluyó con una inolvidable versión de la Sonata en la de César Franck.

Le trio a proposé un fort beau Lundi musical, dans un programme essentiellement consacré à la musique française (Debussy et Ravel).

Emanuel Ax joins members of the New York Philharmonic for an afternoon of chamber music at the 92nd Street Y. 

Entouré de Martha Argerich, Géza Hosszu-Legocky et Edgar Moreau, le pianiste britannique a réservé aux spectateurs de la Philharmonie une soirée de légende.

Sonatas by Ravel frame Renaud Capuçon and Jean-François Heisser's recital in the Basque seaside town of Saint-Jean-de-Luz. 

Sur les terres de Sviatoslav Richter, un ensemble de musiciens de valeur a interprété un programme habilement tressé, entre le Pierrot lunaire de Schönberg et des chansons de Kurt Weill.

Sous le titre berliozien Des milliers de sublimités, le festival de La Côte-Saint-André proposait cette semaine une programmation riche et passionnante, à la fois ambitieuse et abordable.

In a concert of three violin sonatas, a disappointing Debussy precedes an interesting piece by Watkins and well-performed Beethoven.

From Mozart and faux Pugnani to a Miklós Rózsa rarity, this was a brilliant showcase for the British-Polish violinist's artistry. 

After urban Debussy and Adams, the duo settles for autumnal Brahms and a day in the countryside.

Sonorité racée et phrasés maîtrisés : au Festival de Saint-Denis, un récital de belle tenue porté par Raphaëlle Moreau et Sélim Mazari.

Unjustly neglected works by Boulanger, Beach, and Clarke shine despite frustratingly inconsistent playing. 

James Ehnes and Steven Osborne join forces at the Edinburgh Festival.

Au piano aux côtés de Renaud Capuçon ou à la baguette face à l'Orchestre Philharmonique de Radio France, Lahav Shani fait forte impression.

Chloë Hanslip and Danny Driver were in tune with each other in every way in this fascinating and entertaining programme inspired by Marcel Proust.

Daniel Barenboim's absence may have confounded the all-Debussy programme but it left the Aix audience with a beautifully balanced recital.

A long evening of very high class playing offered rich rewards in exploring modernist responses to a Debussian challenge. 

Que les voyeuristes impénitents se précipitent au prochain récital que donneront ensemble Denis Matsuev et Julian Rachlin ! Objet de curiosité publique pour certains, soirée tout sauf subtile pour d'autres. A réserver aux fanatiques de "gros son" avant tout.

Pianist Yuja Wang and violonist Leonidas Kavakos demonstrated an outstanding chemistry

Le Chilingirian Quartet a proposé au Shakespeare's Globe un programme marqué par l'expérience personnelle de la guerre et transfiguré par le Quatuor pour la fin du temps de Messiaen. 

With a programme spanning from Bach through Schumann, Cage, all the way to Lera Auerbach and David Lang, Hilary Hahn shows she is on top form alongside pianist Cory Smythe.

The Winspear Opera House in Dallas hosted violinist Itzhak Perlman for the penultimate performance on this season’s recital series, performing sonatas by Beethoven, Franck and Debussy. 

Style, technique, an original approach, a brilliant discography, even an exemplary profile offstage – Midori has it all. What impresses in live performances is her intelligence, her deep understanding of the material and ability to articulate a wide range of visions and voices. 

Marc-André Hamelin, Martin Fröst and Anthony Marwood join forces at Wigmore Hall in a great selection of mainly 20th century classics by Debussy, Stravinsky, Bartók and Poulenc.

Those who find that the words “complete works” hold a special allure will surely already know about the Debussy Chamber Music Festival taking place in Chicago this month, performed and organized by the Chicago Chamber Musicians, which offers the rare opportunity to hear the composer’s complete chamber works.

It’s rare to be at a concert, of any genre, and to experience a very profound sense of involvement on the part of the performers, combined with total commitment to the music, both in terms of fidelity to the written score and integrity of performance.

Violinist Alda Dizdari may just have taken a while to settle in to the performance, but the opening Debussy Sonata did not come across particularly well. Piano and violin didn’t quite lock in together and the Debussy ‘wash’ of sound, akin to an impressionist watercolour, was not apparent – the tone was harsh and rhythms angular.

In recent decades, the infatuation with youth and beauty has affected many industries including classical music. In fact, it seems that classical musicians must begin their studies practically while they are still breast-feeding in order to ensure any kind of career at all. Bright stars burn out quickly, however, and few Wunderkinder show signs of true artistry and sophistication.

What’s in a name, or for that matter, a label? Why does music “sound” German, American, French, or Russian? Violinist Cho-Liang Lin and pianist Jon Kimura Parker presented a duo recital at Fort Worth’s Bass Hall Tuesday evening, titled “An Evening in Paris”. Their thoughtful program consisted of works by French composers of the early twentieth century, and also by (long-time Parisian) Stravinsky.

Violinist Alina Ibragimova and pianist Cédric Tiberghien formed their duo partnership when they were both BBC New Generation Artists and have since been hailed as the up-and-coming duo, but Thursday’s recital at Wigmore Hall showed the amazing maturity of their partnership.

Choosing a programme for a recital is as important and nearly as difficult as all the practice that happens next. The programme must be the perfect length, provide a contrast of musical styles and yet be linked in some way so as not to be arbitrary. No-one could accuse violinist James Ehnes and pianist Andrew Armstrong of poor programming; however they certainly didn’t make it easy for themselves.