Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Klavierkonzert Nr. 1 Es-Dur, S 124

Den glanzvollen Schlusspunkt setzte dann Bartóks virtuoses, rhythmisch komplexes Finale: ein orchestrales Schaustück, welches die Elemente der vorangegangenen Sätze, deren Spielfreude, das Volkstümliche in sich vereinigt.

Brillante periplo muscial de la Orquesta Sinfónica de Galicia con González-Monjas en la dirección y Yulianna Avdeeva al piano.

Some conductors get better with age, ripening like fine wines, but age wearies others. Daniel Barenboim’s decline is difficult to bear.

Yannick Nézet-Séguin conducts a high-energy program of works by Coleman, Liszt and Dvořák, but there are moments of reflection too, not least Trifonov's Ukrainian encore.

Yuja Wang lives up to her superstar status in Liszt and a couple of operatic encores, while the Oslo Philharmonic show icy clarity in Sibelius and orchestral colour aplenty in Strauss.

Stravinsky's The Rite of Spring receives a vigorous performance to launch the Tanglewood Festival... after Yuja Wang steps in to perform fiery Liszt. 

Yuja Wang's wonderful musical sensibility and unconventional approach to every phrase were in evidence in her account of Liszt's First Piano Concerto. 

Zee Zee dazzles Hongkongers in Liszt's First Piano Concerto and the HK Phil excels in Brahms with Austrian conductor, Christoph Koncz.

In Atlanta, guest conductor Emmanuel Villaume and pianist Andrew von Oeyen powerfully perform a Liszt concerto.

Dima Slobodeniouk’s Cleveland Orchestra program included music by Rachmaninov and Nielsen, along with a Liszt piano concerto with Marc-André Hamelin.

An evening in which the piano – in some cases two, in others three – took centre-stage with members of the Osokins family.

Michael Tilson Thomas had a spectacular debut with Montreal's Orchestre Symphonique. George Li's performance of Liszt's Piano Concerto No. 1 was breath-taking. 

Alexander Shelley conducts a folksong-infused programme of Kodály and Bartók, with Mariam Batsashvili performing Liszt. 

Au milieu d'un week-end « Spirit », Martha Argerich était invitée à donner le Premier Concerto de Liszt. Pärt et Schubert étaient également au programme, par l'Orchestre symphonique de Lucerne.

While the Tonhalle’s concert season officially began about a month ago, Paavo Järvi launched his own appointment here with demanding repertoire that met with great enthusiasm. 

Au Septembre Musical de Montreux, Charles Dutoit galvanise les troupes de l’European Philharmonic of Switzerland et séduit le public par l’excellence de son interprétation.

In Minneapolis, Markus Stenz and Louis Lortie present time-honored Austro-German symphonic masterpieces in committed and compelling performances.

Gergiev and the Mariinsky excel in Act III of Tristan und Isolde with the help of star singing from Vekua, Westbroek and Nikitin; George Li shows promise in Liszt.

The Hallé and Sir Mark Elder gave superb performances of Tchaikovsky's Hamlet and, with Benjamin Grosvenor, Liszt's Piano Concerto no 1. Their Beethoven Pastoral Symphony was disappointing in contrast.

Martha Argerich shows her star quality in an extraordinary, intimate rendering of Liszt's First Piano Concerto; the West-Eastern Divan orchestra make a big political statement in performing Wagner.

The visiting Budapest Festival Orchestra delivered traditional repertoire with some unexpected quirks.

Buribayev conducts a convincing Mahler 1 but Liszt's concerto fails to grip in Dublin.

For a folklore enthusiast like yours truly, the CBSO’s matinee last Saturday seemed the perfect recipe: take some Liszt, a generous amount of Bartók and a pinch of Brahms, then add to the excellent musicians for a delectable musical experience.

The China Philharmonic Orchestra and Long Yu made their BBC Proms première, the concert's rather jumbled programme producing mixed results.

The theme to the evening’s programme at the Colston Hall was “The Power of Love”. Spread over a century, the three works programmed were all romantically driven.

Wednesday’s performance by the Melbourne Symphony Orchestra, entitled “Rising Star,” was the third in a series of four free concerts this year at the Sidney Myer Music Bowl. For over fifty years, these annual free concerts have given audiences in Melbourne a unique opportunity to sample select works from the classical music repertoire in open air.

As this year draws to a close, musicians and audiences have one last chance to celebrate the 200th birthday of Franz Liszt (1811-1886). The program this afternoon featured a couple of less-familiar orchestral pieces as well as the First and Second Piano Concerti. (Liszt’s orchestral works are infrequently performed, these ones especially so.

The Last Night of the Proms isn't really a concert: it's more like going to the cast party for the Proms season.

Since taking the reins of the Academia Nazionale di Santa Cecilia in 2005, the Music Director of the Royal Opera House, Antonio Pappano, has led one of the world's most admired and respected orchestras to dizzy heights of success.

Curiously, for a country that has created so much music, Italy has struggled to produce a world class symphony orchestra to match those from Berlin, Vienna, London and America. Partly due to the influence of the current director of music at London’s Royal Opera House, Antonio Pappano, that has now changed.

Last night's concert at the Royal Festival Hall was a high profile affair. Staged to mark both the opening of the Hungarian six-month presidency of the European Union and the bicentenary of Liszt, it was attended by the President of Hungary and a raft of assorted dignitaries.