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

El esplendido dúo pianístico Labèque inundó de notas y emociones la Iglesia del Carmen de Peralada.

El Festival Internacional de Santander cierra con un intenso e idiomático viaje por obras de compositores checos a cargo de la Czech Philharmonic.

La precisión suiza de la orquesta dirigida por André de Ridder, el minimalismo, las hermanas Labèque y el trompetista Manuel Blanco fueron los protagonistas del séptimo concierto del ciclo sinfónico de la ONE.

Uno de los mayores logros de las pianistas francesas radica en reformular la función habitual de su instrumento en el escenario y que acontece tanto en el apartado interpretativo, como en la lectura de partituras como las de Philip Glass. 

Tanto por la elección de las piezas a tocar como por los solistas invitados, el concierto que la Euskadiko Orkestrta Sinfonikoa ofreció este martes en el Baluarte fue un cariñoso guiño al genio musical francés que, en los años de su auge creativo, supo dibujó en el pentagrama los paisajes exóticos más próximos a sus fronteras.

Las atractivas e inquietantes hermanas Labèque realizaron una interpretación de alto voltaje e impecablemente coordinada de La consagración de la primavera.

La OCNE, de la mano de Dennis Russell Davies y Katia y Marie Labèque, comienza el ciclo de conciertos dedicados al compositor neoyorquino.

Spanischer Flamenco und südamerikanischer Tango und Jazz: das Gastkonzert des BRSO in Bamberg wurde mit der unwiderstehlichen Musikalität von Simon Rattle und den Labèque-Schwestern ein umjubeltes Konzerterlebnis.

Fabien Gabel showcases his French music bona fides, while Katia and Marielle Labèque offer a trademark Philip Glass concerto with the Orchestre symphonique de Montréal. 

Semyon Bychkov leads the New York Philharmonic in flattened Strauss, wondrously physical Rachmaninov, and the New York premiere of Bryce Dessner’s terrific Concerto for two pianos.

Dans Debussy, Ravel comme dans Les Enfants terribles de Philip Glass, les deux pianistes donnent à entendre l'osmose à laquelle elles sont parvenues en cinquante ans de carrière.

A world premiere, a rarely performed concerto and a slice of late Rachmaninov formed a well-conceived programme that also featured the internationally renowned Labèque sisters.

Outstanding performances of two Florent Schmitt scores anchor a winning concert by the Orchestre National de France at the Maison de la Radio. 

Gustavo Gimeno conducts The Cleveland Orchestra in works by Ravel and Franck, along with a recent Bryce Dessner concerto featuring the Labèque sisters.

Coupling a rare but underwhelming concerto by Max Bruch with Strauss's polychrome orchestral showpiece, the program with Semyon Bychkov and the sisters Labèque accentuated superlative musicianship.

Dance, jazz and Latin rhythms were all present in this programme, which rolled back the years to Rattle's early years. 

The audience responded as if they were hearing the Symphony for the first time. They were overwhelmed and let the musicians know it. Good start to the home stand.

Die Münchner Philharmoniker interpretieren unter der Leitung von Semyon Bychkov ein vielfältiges Programm mit experimentellen Klängen. 

Semyon Bychkov dirige le Concertgebouw d'Amsterdam : avec un Concerto pour deux pianos de Bruch en première partie avec Katia et Marielle Labèque, c'est surtout la Symphonie n°5 de Chostakovich que l'on retiendra de ce concert.

Launching a new “Reflektor” series of short festivals, Hamburg’s Elbphilharmonie invited Bryce Dessner to curate two days of concerts.

A satisfying performance overall with many rousing moments but not without its instances of missed opportunity.

Katia and Marielle Labèque were memorable in Mozart’s Concerto for two pianos, K.365.

To celebrate Philip Glass’s 80th birthday the BBC honoured him with one their invaluable Total Immersion days, of which this concert with the BBCSO conducted by Marin Alsop was the climax.

Two interlocking grand pianos, the front with its lid removed, centred the stage of pale pink lights at St George’s. The Labèque sisters, Katia and Marielle perform Ravel, Schubert, Bernstein and Glass. 

An inspiring sight in a troubled year: a hundred young Europeans coming together in the European Union Youth Orchestra celebrating music and friendship.

N’en déplaise aux sœurs Labèque, Jaap Van Zweden était indiscutablement la star de cette soirée. En regard d’une 5ème Symphonie de Chostakovitch récurée, brillant de mille feux, la création programmée a pris un rude coup.

Let’s not beat about the bush: the BBC Symphony Orchestra wouldn’t rank among my top ten orchestras in the world. Semyon Bychkov, however, has a transformative power over its players and in a monumentally impressive account of Dmitri Shostakovich’s Leningrad Symphony, Bychkov made the BBCSO truly sound one of the world’s greats.

Milhaud, Bernstein et Ellington réunissent amateurs de symphonique et de jazz à Lyon

Marielle and Katia Labèque are reunited with the RCO after more than 15 years in Mozart’s Concerto in E flat for two pianos. 

The LPO give thrilling performances of colourful French classics, with the mood slightly dampened by an absurd performance of Poulenc's Concerto for Two Pianos.

Katia et Marielle, les sœurs pianistes, avec l'assistance du trio de musiciens basques Kalakan, nous donnent des mélodies, des rythmes et des couleurs d’horizons variés. C'est un concert étonnamment homogène malgré un programme éclectique.

Martinů’s Concerto for Two Pianos and Orchestra is a lively, catchy piece, and was played as such by the Labèque sisters and the BBC Symphony Orchestra under Semyon Bychkov. Shostakovich’s Symphony no. 7 is, however, long, heavy and disquieting.

As I sat in the intriguing darkness of Koerner Hall, Marielle Labèque carefully placed the opening notes of Le fils des étoiles by Erik Satie. They hung in the air like little crystals. This was a simple beginning, yet deceptively so, that would build towards something larger. In turn, these notes would unfold in a continuous stream of build-ups and decays.

We can never really know why Schubert left his Eighth Symphony unfinished, but that shouldn't stop us from playing such a wonderful piece of music. With its deathly still opening, turbulent central section and gentle slow movement, this symphony is one of Schubert's finest and most frequently performed works.

If you go to enough concerts, it’s bound to happen to you every now and then: the programme includes a work that you weren’t particularly looking forward to, and the performers blow you away, utterly transforming your view of the piece. In this case, the performers were Camerata Bern and the work was Bartók’s Divertimento for strings.

Minimalism is, according to some, ‘The most influential musical movement of the 20th century’. Whether or not this is a little hyperbolical, minimalism does certainly deserve real recognition and exploration, and Kings Place hence merits a great deal of praise for putting on the three-day ‘50 Years of Minimalism’ festival, curated by Igor Toronyi-Lalic and led on the stage by pianists Katia and M

Sometimes it seemed as though the sun would never set on Dawn. At nearly three hours long, it made for a blockbuster opening to the '50 Years of Minimalism' festival. Thankfully, the Labèque sisters, a rock ensemble, electronic keyboard and the obligatory tape machine on stage were brilliant company for the whole, overlong affair.

Three symphonies in one programme! Anyone who has ever sat through all ninety minutes of Mahler’s 3rd Symphony would be permitted a slight shudder upon reading the concert order of Sir Simon Rattle’s latest performance with the Orchestra of the Age of Enlightenment.