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A memorable evening with the Hong Kong Sinfonietta, who are joined by pianist Alexandre Tharaud for Ravel's Piano Concerto in G major. 

In its spic and span, acoustically resonant concert venue in Zurich, the superb Zürcher Kammerorchester returned to live performances with an audience with pianist Alexandre Tharaud.

Pantheon, by Cleveland Orchestra oboist Jeffrey Rathbun, and Hans Abrahamsen’s Left, alone with pianist Alexandre Tharaud in his TCO debut showed the ensemble’s strengths.

Shostakovich proves the highlight of a variable programme in Rotterdam. 

The Royal Liverpool Philharmonic Orchestra and Vasiliy Petrenko make a guest visit to Sage Gateshead, bringing their contributions by Ravel and Rachmaninov to this year's concert theme of Dance.

Alistair McGowan, Alexandre Tharaud and Jean Delescluse bring together the humour, intimacy, pathos and occasional profundity of the enigmatic Erik Satie in the 150th year of his birth.

Sandwiched between Debussy’s charming Children’s Corner and Mahler’s invitation to heaven, Abrahamsen unveiled his piano concerto for left hand. It was certainly a night for stark contrasts in tone and theme.

The Canadian chamber orchestra Les Violons du Roy, using baroque bows on metal strings at modern pitch, came to Walt Disney Concert Hall, backing Alexandre Tharaud on a big beautiful Steinway.

The Atlanta Symphony Orchestra, conducted by Thomas Søndergård, was joined by pianist Alexandre Tharaud, presenting strong performances of familiar French composers.

Alexandre Tharaud's performance of music by Schubert, Mahler, Couperin and Ravel had a special intimacy from the opening notes of the first movement of Schubert's Moments musicaux.

With murky machinations in the low strings and piercing, vivid woodwind solos above, Harrison Birtwistle’s Night’s Black Bird and Ravel’s Piano Concerto for the Left Hand in D major have surprisingly similar openings.

Within the framework of a concert series entitled “Alexandre Tharaud domaine privé” (“Alexandre Tharaud’s Private Domain”) at the Cité de la Musique in Paris, the Luxembourg Philharmonic Orchestra and its musical director Emmanuel Krivine chose an eclectic program with three very different pieces showcasing the orchestra’s great abilities: J.

Despite forecasts of gales, there was a virtually full house at the Wigmore Hall for a lunchtime recital given by French pianist Alexandre Tharaud. The programme offered a tempting combination of a rarely-performed Bach keyboard concerto, Schubert’s much-loved Moments Musicaux, and Chopin’s Fantasy in F minor.

The early 1950s were marked by the world premières of Prokofiev’s Symphony no. 7 (1952), Poulenc’s Piano Concerto (1950) as well as his Stabat Mater (1951). The most recent offering of The Rest is Noise series at the Southbank Centre encouraged us to place these pieces not just in the 1950s, but also in a wider political and cultural context.

The stage was set at (Le) Poisson Rouge: a royal blue curtain and a brilliant red light contrasted nicely with the shine of the black and white piano. Simple yet bold, the stage was akin to a Mondrian painting. And as Scarlatti’s notes rolled off Alexandre Tharaud’s fingers, this striking visual matched the crisp performance perfectly.