Find classical music concert, opera, ballet and dance reviews | Paul Lewis

It was evident from the first bars that Strauss' An Alpine Symphony is a score about which Daniel Harding cares deeply.

A world première commemorating 9/11 and two works from the core German repertory performed by Paul Lewis and the BBC Philharmonic under Ben Gernon.

Paul Lewis continued his enlightening exploration of Haydn, Beethoven and Brahms with performances of delicacy, steel and depth, where quality ruled over quantity.

The Symphony no. 11 “The Year 1905”, receiving its BSO première, was the first of three Shostakovich symphonies to be presented in Boston this season. 

Conducted by Edward Gardner, the Bergen Philharmonic Orchestra brought a fresh approach to Elgar's First Symphony.

Andris Nelsons conducts Bruckner's Ninth symphony, while Paul Lewis plays Mozart.

Andris Nelsons conducted pianist Paul Lewis and the fellows of the Tanglewood Music Center in an All-Brahms Sunday afternoon

While Paul Lewis impressed in Beethoven's Fifth Piano Concerto, Vasily Petrenko and the Oslo Philharmonic struggled to keep pace. Luckily, they seemed more at home in Scriabin's Second Symphony.

This was one of those absorbing discovery type recital programmes where links between the composers were both in and between the music. 

Paul Lewis gave a noteworthy piano recital in Leeds, presenting the three last Beethoven piano sonatas. 

Where should the ideal Mahler 5 sit on the Bernstein-to-Boulez spectrum? Saraste and the LPO had a persuasive answer.

With expressive playing of Brahms's miniatures and solid performances of two of Beethoven's late piano sonatas, Paul Lewis' recital in Sydney was musically satisfying if not transcendent.

Picking up where his Czech predecessors left off, Vasily Petrenko led the Royal Liverpool Philharmonic in a satisfying close to this year's festival.

Paul Lewis gives a magnificent rendition of the last three sonatas by Beethoven in Dublin. 

Vasily Petrenko and Paul Lewis – two young men, around 40 years apiece – joined forces at the CSO last week in a program of very mature works. 

A select group of musicians provided a modest programme of chamber music at St George’s alongside renowned pianist, Paul Lewis.

The music was so convincingly Czech and so naturally bucolic in outlook that I was left at the end wishing that we might hear more Dvořák from the Hallé/Elder partnership. 

Saturday's opening concert of the Oslo Chamber Music Festival was something of a lukewarm experience, yet it occasionally shone with ravishing Beethoven and deeply engaging Bartók.

Andris Nelsons conducts the CBSO in an imposing account of Beethoven's “Emperor” Concerto with Paul Lewis and a brilliantly entertaining Symphonia Domestica.

James MacMillan’s The Death of Oscar receives its American première under Stéphane Denève, while Paul Lewis is the soloist in a thought-provoking account of Beethoven’s Piano Concerto no. 3.

Superb pianism in unexpected repertoire from Paul Lewis, while the Beethoven with which he made his name doesn't quite stack up.

Coupling Busoni's arrangements of Bach with Beethoven and Liszt with Mussorgsky, Paul Lewis's programme ranged from inward contemplation to thrilling drama. Despite his elegant lyricism and nuanced readings, the recital was slightly marred by some surprising technical flaws.

Concerts with the Orchestre de Chambre de Paris are interesting experiences: attending either a symphony or a chamber concert, you might discover a new way to appreciate what you hear.

Daniel Barenboim was onto something earlier this Proms season when he spoke of the “communion” between the Royal Albert Hall audience and the performers: there is a sense of deep, serious, joyous concentration at the Proms that more than compensates for the disappointing acoustic.

After all that tonal instability in last week’s Wagner marathon at the Proms, Daniel Harding and the Mahler Chamber Orchestra’s programme celebrating C major came as a breath of fresh air. The Royal Albert Hall had cooled down a bit too.

Sir Mark Elder conducted the Hallé in the final concert of their 2012/13 Thursday Series, with a truly titanic account of Mahler’s First Symphony at the Bridgewater Hall in Manchester.The evening began with the première of Near Midnight, the first commission for Helen Grime in her role as Associate Composer of the Hallé.

The billing looked intriguing enough: Kevin Griffiths – the young London-born conductor, celebrated for his dedication to contemporary music, coupled with his fellow countryman Paul Lewis – one of today’s prominent performers of Beethoven and particularly Schubert, in an evening dedicated to Mozart’s music.

Paul Lewis’ current tour constitutes the final instalment of his Schubert cycle. As is the fashion, largely following Artur Schnabel and more recently Alfred Brendel, Lewis plays the last three sonatas as a trilogy, with the D.958 and D.959 played before the interval and the D.960 afterwards.

If your ears happen to frequent the frequencies of the BBC’s classical music radio station, it’s highly possible that you’ll have been swamped by piano music this monsoon season. Piano notes have poured down upon us, flooding the airwaves with this extraordinary instrument’s capacity to evoke everything from orchestras to ocarinas, from tempestuousness to tranquillity, from Moonlight to Raindrops.

A small audience had the honour of two big names on stage and enthusiasts of Schubert would agree that there were no two bigger names to have performed the evening's programme than Paul Lewis and Mark Padmore. They gave an intimate chamber performance of songs by Beethoven and Schubert, received with calls of “Bravo!” and whistles.

Concerts which are dedicated to one composer are becoming all the more frequent, and it is fantastic to hear a pianist as renowned as Paul Lewis devoting an entire tour to the works of Franz Schubert. It is fair to say that Lewis gave the audience at St George’s his all.

Last night brought Mark Padmore (tenor) and Paul Lewis (piano) to the Sheldonian Theatre in Oxford for a recital of Schubert’s Winterreise, Schubert’s setting of a text by the short-lived lyric poet Wilhelm Müller. The poems focus on a ‘wanderer’ whose only friend is his shadow, having been rejected by his sweetheart in favour of a new lover.

I went to the concert with the Hong Kong Philharmonic Orchestra on Friday with some pre-conceived ideas about how they should play the two works on the programme, and came away satisfied that the performance more than met expectations.Having heard Mozart's Piano Concerto no.

Bernard Haitink zeigt einmal mehr, warum er als einer der größten Bruckner-Dirigenten gilt.