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A chamber programme of Shostakovich’s private idioms and public masks

Anchored by the piano music of Shostakovich, Evgeny Kissin’s Cleveland recital also explores works of Bach and Chopin. 

Evgeny Kissin delights an overwhelmingly enthusiastic San Francisco audience with Chopin and Shostakovich, but his Bach is less convincing. 

A program of Schumann and Brahms fails to cohere due to fussy mannerisms and tentative playing. 

Kissin’s magnificent performance includes a touching tribute to Alexei Navalny. 

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.   

Sir Simon Rattle's “Stravinsky Journey” threads a string of miniatures to persuade the audience that there's more to Stravinsky than his three early Ballets Russes hits. 

Kissin’s Cleveland recital featured works of Bach, Mozart, Beethoven – and predictably, a hearty helping of Chopin.

An extraordinary evening in the Großes Festspielhaus as the pianist draws his audience in for a marathon recital of Berg, Gershwin and Chopin. 

Beethoven 250 – no fewer than three Sonatas, 21 variations, a fugue, two bagatelles and six écossaises – delivered with urgent energy and exuberant joy by Kissin.

Kissin the mature artist speaks to Beethoven's architectural depths in the Swiss mountains. 

There was a palpable sense of communion during a performance bringing these great musicians together at Carnegie Hall for the first time. 

Evgeny Kissin gave a performance of immense power, energy and musical intellect in Beethoven's monumental Hammerklavier and a selection of Rachmaninov Preludes.

Russian piano virtuoso Evgeny Kissen taps his Yiddish roots for an engaging concert of solo piano works by lesser-known Jewish composers and a classic Yiddish poetry recital.

Kissin's always stellar recital highlighted by a selection of works from Spain.

Kissin's formidable take on Tchaikovsky's warhorse was a night to remember.

Carnegie Hall opened its 125th anniversary season with the help of one of the world’s greatest living composers, one of the world’s greatest performers, and one of the world’s greatest orchestras.

It was during this second half of the concert that concert-goers were rewarded with Mr Kissin’s inimitable technique, a full range in sounds filling the hall, and of course that element of uexpectedness that draws such large crowds year after year.

David Fay reviews Evgeny Kissin playing Schubert and Scriabin at the Barbican Hall, London.

Pianist Evgeny Kissin and conductor Vladimir Ashkenazy joined the Philharmonia orchestra in Tchaikovsky’s First Piano concerto and Fifth Symphony, and a rare symphonic ballad, The Voyevoda.

Michael Tilson Thomas conducted the London Symphony Orchestra in a programme of Russian music with star soloist Evgeny Kissin, whose Tchaikovsky concerto partially fulfilled expectations, but not more.

With a gleaming, glistening chord of purest A major, the man New Yorkers love to call “the Maestro” returned to the concert stage. His last public performance was a Die Walküre in May 2011, one that took its searing emotional power by maintaining the constant impression that it was about to disintegrate musically, just as Wotan’s worlds fell apart on stage and the conductor’s body buckled.

Evgeny Kissin is more than a collection of bones and flesh and crazy hair: he is a sensation. Every May for the past several years, the pianist has performed a recital on the Perelman stage at Carnegie Hall, and every year the tickets have sold out by mid-October, seven or eight months in advance. These recitals are the pinnacle of any concert-goer’s season.

Let me first describe the sound of the applause: taut, front-heavy, explosive. This was before Evgeny Kissin played his first note at Symphony Hall this past Sunday. It was a packed house, with an audience that spilled out of the choir loft and onto several rows of chairs wrapped around the piano.

When Evgeny Kissin first walked on stage at the Barbican Centre, his gentle smile and humble demeanor seemed ill equipped for the exuberance of Liszt’s piano works. But from the moment notes first spilled out from the piano, Kissin had the audience transfixed.