Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Piano Sonata no. 3 in B minor, Op.58

Igor Levit brings a well-considered programme of Schubert, Schumann and Chopin to London in a performance of commitment and subtlety. 

Sir Stephen Hough continues his advocacy of Chaminade with three of her miniatures and gives passionate performances of Schumann' and Chopin. 

Mary Poppins would surely have a word for Sir Stephen Hough’s Crucible Playhouse recital... and she’d be right.

Grosvenor brings out the commonalities and contrasts of two great B minor sonatas, demonstrating his unique pianistic qualities. 

With only the latest composition by Tristan Murail acting as a palate-cleanser, this was a recital by a leading French pianist that was full of Romantic power and passion in works by Chopin and Beethoven.

Unlike many of his peers at the concert grand, Grosvenor kept histrionics to a minimum as he plays a well-programmed London recital. 

Martha Argerich hadn't played Chopin's Third Piano Sonata in public for at least 25 years... so this performance at the Laeiszhalle Hamburg came as a huge surprise.

In a passionate and evocative programme, South Korean pianist Seong-Jin Cho shows that his interpretive skills can start to blossom beyond mere technical prowess. 

With plenty of sparkle and spritz, Pollini laces his performances of Schumann and Chopin with intimacy and introspection in a programme of contrasting emotions.

At Carnegie Hall, a lion in winter focuses on Chopin.

In an unusual setting in Baden, the fine pianist Emanuel Ax coupled his exploration of demanding technique with a keen expressive focus, making an unparalleled musical experience.

A daring programme, with more than enough technical challenges which produced exciting, if uneven performances.  

Ivo Pogorelić’s return to Warsaw thirty-five years after his triumphant failure in the 1980 International Chopin Piano Competition should have been an occasion for great expectations. Sadly it was more like Hard Times.

Yuja Wang’s latest recital at Carnegie Hall, which took place Tuesday evening, is best compared to a triple-decker sandwich with very excellent bread and questionable innards. Ms. Wang is known for her intimidating technique: powerful, playful, and superlative. Her energy is at its highest during her showy encores, and her pianism is at its most impressive with virtuosic Russian repertoire.

At this Mozart Saal recital the latest addition to the bumf which routinely overfills concert programmes was a flyer for an autumn sale at Austria’s main Steinway dealership, drawing one’s attention a fraction more than usual to the unremarkable fact that like the overwhelming majority of his colleagues, Ingolf Wunder is a Steinway artist.

The word 'prodigy' is unavoidable when writing about Benjamin Grosvenor, or so it appears for the headline writers. Having eschewed many big concert dates and growing as an artist in smaller halls, he is clearly setting himself up for the long haul. This ambitious, sold-out Cambridge concert showed both how brilliant a pianist he already is, and hinted at how far he could go in the future.

“He looks rather Churchillian, doesn’t he?” my friend whispered as the lights dimmed, and Charles Rosen tottered on stage with the help of a walking stick, which he hooked over the edge of the piano. The comparison seemed appropriate, for Charles Rosen is truly a grand elder statesman of the piano.