Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Fantasia in C major "Wanderer Fantasy", D.760

Garrick Ohlsson looks back over a 60-year career in style with a fine recital in Prague's Rudolfinum. 

The French pianist thrills in Brahms, Schubert and Schubert clothed by Liszt in a stunning recital in Aix-en-Provence.

The fantasia proved an anchoring theme for this rising young pianist's varied, satisfying recital programme.

After an eight-city recital tour of Japan with duo partner Daishin Kashimoto, Kirill Gerstein gave a recital of his own at Kioi Hall, arguably Tokyo's best acoustics for solo piano.

In his Zankel Hall recital, Gerstein underlined with purposeful clarity the fecundating power of just a few thematic ideas.

Louis Lortie amazes in the Schubert-Liszt Wanderer Fantasy, while The Philadelphia Orchestra under Nézet-Séguin struggles but ultimately triumphs with Mahler's Fifth.

Seong-Jin Cho's mixture of virtuosic and poetic dispositions, of fierce and restraint temperaments were constantly present during the entire recital.

A pair of A minor sonatas demonstrate the composer's evolution over his lifetime; the Wanderer Fantasy shows the pianist's mastery of phrasing.

Contrasts are fine but they don’t always work: in a programme with a strongly Germanic flavour John Storgårds and the BBC Philharmonic stretch the boundaries.

An intriguing concert performed on three pianos from different eras which revealed how composers responded to the piano technology available to them at the time.

Soviet Realism rubs shoulders with Romanticism and a new British work in Liverpool.

Tonight, on Benjamin Britten’s birthday 100 years to the day, Llŷr Williams performed a selection of Britten’s piano music alongside works by Haydn, Bridge and Schubert, in a concert concluding the Gregynog Festival.

In a way, this was a virtuoso programme, but Alasdair Beatson is not a pianist inclined to indulge in vapid displays of skill and empty gesturing. Rather, this was a set of slightly unobvious works where the music was very much the point, not the performer.We opened with Mozart's Piano sonata in F K332.

The popularity of mercurial Elisabeth Leonskaja amongst audiences has never been higher, perhaps because she is one of “the last of the great Russian school” (Sean Rafferty), a performer whose heritage links her to one of the greatest, her friend and mentor, Sviatoslav Richter. Her musical outlook is fiercely independent, and not always to everyone’s taste.