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

For Richard Goode, returning to Beethoven’s last piano sonatas is not an extraordinary event, but rather a form of periodic devotion.

Richard Goode delivers a gentile performance of a Mozart piano concerto, whilst Anne Thorvaldsdottir’s dark Archora is given an impressive performance.

Nicht weniger als sechzig grössere und kleinere Stars der klassischen Musikszene gaben sich beim Galakonzert in Verbier die Ehre. Ein grosser Erfolg für den Intendanten Martin Engstroem.

Two powerful symphonic statements by a Ukrainian and a Finnish composer flanking a calm and courtly concerto by Mozart: Jukka-Pekka Saraste and the London Philharmonic Orchestra, together with the American pianist Richard Goode.

In Goode’s performance, Beethoven’s sonata appeared equidistant from the music of Bach and Schumann that preceded and followed it in the programme. 

Mikko Franck’s Cleveland debut showed the conductor in fine form with a recent work of Julian Anderson, a Brahms symphony, and a Mozart piano concerto with Richard Goode.

La soirée « Grâce et génie – Enfants prodiges » affichée comme second concert de la saison, et premier avec chef invité ambitionnait de réunir deux compositeurs ayant marqué l'histoire : Mozart et Mendelssohn.

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.

Magnifique soirée à l’Auditorium grâce à Ton Koopman, le Chœur de chambre de Namur et Richard Goode.

Richard Goode returned to Amsterdam with a wonderful performance of Beethoven's final piano sonatas refreshingly performed with six bagatelles from the same period. 

San Diego’s Copley Symphony Hall resounded with the noble key of C major via Mozart and Schubert. 

The Toronto Symphony Orchestra led by Peter Oundjian performed at Montreal’s Maison Symphonique in a well-executed and altogether comfortable programme which nonetheless failed to challenge any notion of orchestral status-quo.

A concert of the Op. 109, Op. 110, and Op. 111 piano sonatas could very easily be delivered with the kind of self-seriousness that turns Beethoven into the Beethoven of legend, a daunting, impenetrable titan, the kind of Beethoven consecrated high on the proscenium arches of so many American concert halls.