En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Preludio en sol menor, Op.23 núm 5

Jan Lisiecki mostró su personalidad como intérprete y sus características más auténticas especialmente en el bloque dedicado a Górecki y a Messiaen, mientras que el resto del programa resultó falto de emotividad y dirección.

Dans un programme conceptuel sous-titré « Prélude aux Préludes », le pianiste canadien a déçu, notamment dans des Préludes op. 28 de Chopin plus qu'approximatifs.

Before heading to the Far East for a 12-concert honeymoon, the nuptials of the LSO and new Chief Conductor Sir Antonio Pappano were completed in the fourth concert at the Barbican. 

A very impressive outing for the young Canadian pianist, who brings some of the old school magic of an Arthur Rubinstein to his Chopin. 

The Russian-Israeli pianist serves up a richly varied mezze of 38 Chopin and Rachmaninov preludes at Wigmore Hall. 

Tianyi Lu draws on the individual and collective virtuosity of the LPO to make an impressive debut in Rimsky-Korsakov, while Tom Borrow underplays the imperial qualities of Beethoven's “Emperor” Concerto. 

The Uzbek pianist returns to Kansas City for a wonderful recital including Dilorom Saidaminova’s The Walls of Ancient Bukhara. 

JoAnn Falletta and the Buffalo Philharmonic take an exotic journey into the orientalist world of Florent Schmitt, while Konrad Skolarski thrills in Rachmaninov's Second Piano Concerto.

The Berlin Philharmonic gives a first half party before a dark Schmidt symphony. 

A truly remarkable display from a musical giant as Yuja Wang wows the Barbican. 

Evgeny Kissin gave a performance of immense power, energy and musical intellect in Beethoven's monumental Hammerklavier and a selection of Rachmaninov Preludes.

In an all-Russian programme, Agrest gave us a thoughtfully textured Tchaikvosky 4, while the ease with which Andrey Gugnin took on Rachmaninov’s Third Piano Concerto was a delight.

Une ambition affichée : faire sonner l’infini des possibles du plus monumental des instruments sur des partitions qui ne lui sont pourtant pas destinées. 

Edge and bite in Bartók from Zimmermann, followed by intense but restrained Shostakovich from Valčuha and the Philharmonia.

Have you ever felt a sense of elation at the end of Tchaikovsky’s Fifth Symphony? In many ways, I find the Fifth as intensely painful and autobiographical as the “Pathétique”, with the finale seeing the composer nobly ‘putting on a brave face’, accepting fate’s hand stoically. The last pages often play through a mist of tears, the triumphant march ringing helplessly hollow. Not so here. 

Stepping in for the indisposed Cédric Tiberghien, the Ukrainian-born Australian pianist Alexander Gavrylyuk wowed Wigmore Hall’s lunchtime audience with a debut concert replete in masterful displays of pianism, in the purest meaning of the word.Gavrylyuk is a concert pianist in the traditional sense.

His build is blocky like the hockey defense-man he once was, but Denis Matsuev’s fingers can touch piano keys lightly as butterflies landing on begonias. The mood of his solo recital opened blissfully, like the January night by the fireplace described in Puskin’s poem “By the Hearth” which inspired the first of the twelve monthly miniatures Tchaikovsky published as The Seasons, Op. 37b.

With more than 30 million YouTube channel views, there is simply no doubt that Valentina Lisitsa is already a classical music star to contend with.