En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Jonathan Biss

Stepping in to replace Stephen Kovacevich, Jonathan Biss’ Schubert alternates between insight and impatience.

Jakub Hrůša conducts a magnificent Shostakovich 11 and, just after the 80th anniversary of the liberation of Auschwitz, a work by one of the many Jewish musicians who perished there.

Retour sur les derniers récitals de l'édition 2024 du festival, qui symbolisaient l'esprit d'une manifestation restée fidèle à ses principes.

Du fameux trio de Beethoven aux lieder et aux sonates de Schubert, le premier week-end du Festival de la Grange de Meslay a proposé un cheminement admirable dans un répertoire en clair-obscur.

Dans Beethoven, le violoniste et chef finlandais mène son orchestre jusqu'au miracle, rappelant les grandes phalanges historiquement informées. Jonathan Biss complète ce beau tableau dans un passionnant diptyque de concertos.

Ryan Bancroft and the BBC National Orchestra of Wales give an extraordinary, terrifying account of Shostakovich’s Thirteenth Symphony, preceded by a Classical-Romantic tussle in Beethoven’s First Piano Concerto. 

Early Beethoven doesn't convince, but Karina Canellakis’s rendering of Shostakovich 8 pulls no punches: raw, frightening, even chastening

De Schubert à Beethoven en passant par Schumann, Mozart et Amy Beth Kirsten, le pianiste américain a donné un récital exceptionnellement éloquent.

A boldly curated programme, showcasing two ambitious orchestral works premiered during the last two years, proved to be a most stimulating evening. 

Exhilarating playing, but speed isn’t everything as Jonathan Biss opens his Beethoven cycle in London.

The 31-year-old Assistant Conductor approached a program of Beethoven, Weber and Schumann with confidence and a forceful hand.

Considered Mozart and volcanic Schubert in a Viennese programme at the Royal Festival Hall.

Jonathan Biss and the Saint Paul Chamber Orchestra explore Beethoven from two different angles – the early 19th and 21st centuries.

Fabio Luisi led The Cleveland Orchestra in Bruckner’s mighty Fourth Symphony, prefaced by a recently composed piano concerto by Sciarrino with Jonathan Biss.

American pianist Jonathan Biss explored the notion of late style in a programme of works by Schumann, Kurtág, Chopin and Brahms which revealed a common intensity of expression regardless of the composer's age.

Bruckner's Symphony no. 7 is well played, but the overall picture lacks definition; Jonathan Biss gives an engaging performance of Beethoven's Emperor Concerto.

Jonathan Biss is embarking on a traversal of the complete Beethoven piano sonatas, and his playing is characterized by an ideal balance of intellectual rigor and emotional expression.  

The Sydney Symphony in a finely chiselled account of Vaughan Williams' “A London Symphony”, but groped for balance in Ravel and Bax.

With the Atlanta Symphony Orchestra, contemporary music champion Robert Spano conducted an electrifying perfromance of Jennifer Higdon's Concerto for Orchestra, followed by Beethoven's Fifth Piano Concerto with a bravura perfromance by pianist Jonathan Biss. 

In the final concert of Muti's winter residency with the Chicago Symphony Orchestra, he presented one of his most varied programs to date with repertoire spanning nearly two centuries. 

The Iceland Symphony Orchestra give an assured performance in their debut concert at the Proms, most successfully in the new compositions of their compatriots.

Prom 39 at the Royal Albert Hall presented a highly unique programme spanning 250 years of classical music, with Rameau, Rands, Mozart and Strauss who all celebrate a milestone this year.

The pure joy that Mozart’s music can bring was emphasized in the Zurich Chamber Orchestra's concert at Cadogan Hall in London, featuring pianist Jonathan Biss and conducted by Sir Roger Norrington.

A series of three concerts over the course of one weekend, designed to reflect upon and champion the work of the Borletti-Buitoni Trust, which has supported a significant number of worthy performers in its first ten years, was always going to present an interesting range of repertoire – if not something of a conundrum for those planning the programming of the concerts.

Thursday, composer David Ludwig joined Princeton audiences to hear Jonathan Biss perform his newly-penned Lunaire Variations in Richardson Auditorium. Ludwig’s piano cycle, though the shortest work on the program, became the centerpiece of Biss’ recital, which also featured works by Janáček and Beethoven.

In what would turn out to be a concert of two very distinct halves, the Elias Quartet impressed in the cosy confines of Wigmore Hall. After a full ‘daily grind’, arriving at this cocoon of a hall – where outside noise is absent, save for the occasional underground rumble – felt like a real treat. Here was a chance to sink into some cosy chamber music to wash over the listener – or maybe not.

There is an electric guitar on stage at Boston's Symphony Hall, and it is not a Pops concert.John Harbison's Symphony no. 5 for baritone, mezzo-soprano and orchestra up-ends what we think of as a symphony, presenting the voice as an instrument and recalibrating the form.

Sir Colin Davis is a man whose name has become synonymous with exceptional classical music. And after over 50 years with the London Symphony Orchestra, the nuances of performance have become second-nature to him. But audiences were in for a treat Sunday night: the LSO offered audiences a rare opportunity to experience new music by two exceptional young musicians.