Live, Video: Find classical music concert, opera, ballet and dance reviews | Piano Concerto no. 20 in D minor, K466

Ryan Wigglesworth conducts a premiere of his own work before steering the BBC Scottish Symphony Orchestra through a dextrous and fascinating performance of Bruckner's Seventh Symphony. 

With an assist from soloist Kirill Gerstein, Alan Gilbert holds the audience rapt in his inaugural appearance with the Czech Philharmonic.

French pianist David Fray with the Royal Northern Sinfonia challenges orthodoxy in blisteringly fast Bach and darkly imagined Mozart.

Kristian Bezuidenhout joins the ACO for a piecemeal programme leading to a complete performance of Beethoven's Emperor Concerto. 

Overture, concerto, symphony: nothing to scare the horses here, nor in works by three major composers, Wagner, Mozart and Beethoven. Nothing world-shaking either in solid but often one-dimensional performances.

Yannick Nézet-Séguin and the Philadelphia Orchestra give the world premiere of Esteban Benzecry’s MUYUY, The circle of life before a performance of Florence Price's Fourth Symphony. 

A scintillating account of an all-Mozart programme at St Martin-in-the-Fields with a mighty concerto, a mightier symphony and one of his more unusual overtures.

A stunning Mozart piano concerto with Angela Hewitt and a dazzling recent piece are framed by serious but uplifting orchestral works by Britten and Strauss.

Domingo Hindoyan conducts a thoughtful account of Nielsen's Fourth Symphony with the RLPO.

Brilliant Swiss pianist Francesco Piemontesi performs Mozart's D minor piano concerto. 

Conductor Jane Glover capitalized on The Cleveland Orchestra’s affinity for Mozart in a Sunday evening concert at the Blossom Music Center, with the versatile pianist Conrad Tao.

Two minor key works, performed before a – limited – live audience in Dallas, and streamed online. 

New chief conductor Jaime Martín proved to be on fire getting the best from the RTÉ NSO in tonight's works by Mendelssohn, Mozart and Beethoven, while Venezuelan pianist Gabriela Montero delights with her musicianship and improvisation.

Nicholas Collon decides that Mendelssohn is really a very revolutionary composer, while Amy Dickson's saxophone and Ronald Brautigam in Mozart provide vibrant contrasts.

Romanticized but highly enjoyable Mozart performances, monumental Brahms, but more gusto than tenderness characterized the program.

The Ferenc Liszt Chamber Orchestra showcased two very promising young Hungarian pianists, Krisztián Kocsis and Ádám Balogh, at Müpa.

An able interpreter of the Romantic repertoire, Emanuel Ax has an innate elegance of tone and gesture that make him an ideal interpreter of Mozart's D minor Concerto.

Vladimir Jurowski and the London Philharmonic Orchestra brought romantic storms with Mozart's Piano Concerto no. 20 in D minor and Bruckner's Fifth to the Royal Festival Hall.

In the absence of an indisposed Christoph von Dohnányi, Enrique Mazzola impressed in a perfectly formed programme with the Philharmonia. 

Two big-boned Mozart piano concertos played by Leif Ove Andsnes formed the meaty filling in a concert by the Norwegian Chamber Orchestra that showcased their superb ensemble characteristics.

Philip Sawyers’ Third Symphony imposing but tightly argued, and given a compelling first performance by Kenneth Woods and the English Symphony Orchestra.

A withdrawal by Daniel Harding gave Claus Peter Flor an opportunity to deliver a highly unusual Bruckner 3, whilst Andsnes gave subtle and unflashy Mozart.

Familiar works of Mozart and Beethoven were paired with pieces by Hindemith and Prokofiev for an eclectic program. 

A mixed programme thrills, launching the season with a bang

Birthday celebrations for the RTE Philharmonic Choir singing Agnew and Elgar, while Tinney shines in Mozart's Piano Concerto no. 20 in D minor K466. 

It’s unfair but tempting to pigeonhole pianists: the intense Mitsuko Uchida; the powerful Martha Argerich; the stately Alicia de Larrocha; and the vivacious Maria João Pires.

You know that it is really warm in the hall when a special announcement before the concert is made apologizing to all the ladies in the house that the men in the orchestra will be playing without their suit jackets due to the heat. We in the audience, fanning ourselves incessantly, were only too happy to be forgiving, as the orchestra must have been fairly melting under the lights.

The level of anticipation for Saturday’s Oxford Philomusica concert was high, although not necessarily for the reasons you might expect: several minutes passed after tuning before the concertmaster emerged from the wings of Oxford’s Sheldonian Theatre. Although the Sheldonian may be somewhat lacking acoustically, the building’s grandeur more than makes up for it.

A brand new orchestra took to the stage on Sunday night to introduce themselves. The Enigma Orchestra, co-founded this year by Robert Weaver and Arian Aghababaie, is made up of high-standard amateur instrumentalists from in and around Bristol. The orchestral team had coordinated all the visual aspects of the concert with a theme of white, red and black.

Beethoven, Mozart, Angela Hewitt are all much loved names in the world of classical music. The promise of a Mozart piano concerto played by Angela Hewitt and a Beethoven symphony is enough to whet any music lover’s appetite. However, as in so many Sydney Symphony concerts, there was another work thrown in, which one could have been forgiven for glossing over in the evening’s publicity.

In their latest set of concerts, the Mostly Mozart Festival on Tuesday presented two works: one largely unknown, the other among the most beloved in the standard repertoire. The first, Luciano Berio’s 1989 Rendering, is fragmented and open-ended. The second, Beethoven’s Piano Concerto no. 5, “Emperor”, about as solid and decisive as they come.

This year’s Mostly Mozart Festival at Lincoln Center opened on Tuesday evening and, to put it encouragingly, there will certainly be room for improvement as the festival continues. (The present review relates to Wednesday’s performance of the same works.

In a concert featuring two works of Richard Wagner (one a concert piece, the other an adaptation from an opera score), the Dallas Symphony Orchestra under conductor Jaap van Zweden made their biggest statements in works by Mozart and Debussy. The fascinating program paired the Wagner works, one in each half, with those of the supposedly more “demure” high-classicist and arch-Impressionist.

Vive la France! Last night’s Philharmonia concert was a very Gallic affair; a celebration of French music conducted by the French conductor Stéphane Denève. Fauré’s Pelléas et Mélisande, Debussy’s La Mer and Ravel’s La Valse were all written between 1898 and 1920. The composers are further linked by friendship and an entanglement à trois: Debussy’s second wife was previously the lover of Fauré.

Berührender Abschluss des Bruckner-Anniversarium 2024 mit Herbert Blomstedt und Leif Ove Andsnes.

En solo ou avec ses confrères pianistes, la jeune Sophia Liu est la révélation du jour au festival rocassien. Retour sur une journée riche en émotions, avec une fabuleuse soirée mozartienne.

Au clavier comme à la baguette, le chef-pianiste montre de belles inspirations et une vraie capacité à modeler la sonorité d'un orchestre en forme.

Bertrand Chamayou étonne par ses choix interprétatifs dans le Concerto n° 20 de Mozart, tandis que Michael Sanderling dirige le superbe Luzerner Sinfonieorchester d'une main de maître dans la Symphonie n° 7 de Beethoven.

Javier Perianes y Gustavo Gimento mostraron sus respectivas personalidades artísticas a la par que se complementaron a la perfección con obras de Mozart y Brahms.

La Coréenne de Salzbourg remporte le premier prix à l'issue d'une finale lors de laquelle le jeune Nikolay Biryukov, 14 ans, s'est distingué dans le Concerto de Robert Schumann.

Sehr selbstbewusst führte die Staatsphilharmonie Nürnberg unter Joana Mallwitz bei Bartók durch ein Schlüsselwerk des 20. Jahrhunderts.

Vienne s'invite à Lyon pour ce concert de lancement de saison de l'Orchestre national de Lyon, avec aux commandes le nouveau directeur musical, l'étincelant Nikolaj Szeps-Znaider.

Accompagné de l'Orchestre National de Lyon, le pianiste et chef d'orchestre allemand Christian Zacharias emmène le public lyonnais à Vienne, partageant notamment sa grande et belle connaissance du répertoire mozartien.

Bach joué à une vingtaine, sans vibrato, Mozart à une cinquantaine, avec vibrato et un style d'arrière-garde, on peine à saisir une idée directrice au concert des Hongrois.

Nelson Freire se coule dans le Mozart « senza vibrato » de l'Orchestre philharmonique de Radio France dirigé par Bernard Labadie. Un triomphe.

Leif Ove Andsnes offre à Genève deux concertos de Mozart très équilibrés qui ont succédé à une Suite Holberg de Grieg contrastée et palpitante. Le style énergique du Norwegian Chamber Orchestra a emporté l’adhésion du public genevois visiblement ravi par tant de jeunesse ! 

La programmation invitait à s’interroger sur le rapport de Mozart et Chostakovitch aux autres artistes de leur temps ou de l’histoire de la musique en général.

Hélène Grimaud erweckte Mozart und Bach zum Leben; das Kammerorchester des Bayerischen Rundfunks verabschiedeten sich mit einem großen Spaß in Essen. 

Répertoire on ne peut plus convenu, petits paraphes obséquieux : difficile de se rendre au concert sans aprioris, dès lors qu'il est question d'aller écouter Hélène Grimaud. Mais le verdict tombe sans tarder : une lecture pleine de fraîcheur de la Symphonie n° 60 de Haydn, par l'Orchestre de Chambre de la Radio Bavaroise, éclipse les deux concertos, pour le moins décevants.

Concierto irregular con una sexta sinfonía de Beethoven muy pesonal y un Mozart pianísticamente plano.