Live, Video: Find classical music concert, opera, ballet and dance reviews | Gautier Capuçon

From the earthy joy of Meistersinger to the sublime textures of Debussy, Daniele Gatti channels the Dresdeners' legendary, layered warmth into an unforgettable evening of pure acoustic luxury.

In Berlin, Kirill Petrenko conducts Stravinsky, Tchaikovsky and Beethoven with the Berliner Philharmoniker and Gautier Capuçon: an ideal line-up. 

Alain Altinoglu and the Frankfurt Radio Symphony Orchestra leave a lot to the imagination in a fiery treatment of two signature Dvořák works.

Gautier Capuçon, Pierre Bleuse and the Orchestre du Festival Casals bring a devastating Shostakovich First Cello Concerto to Aix-en-Provence's Festival de Pâques. 

Three become one as Nikolaj Szeps-Znaider, Gautier Capuçon and Rudolf Buchbinder bring Schubert to London. 

French pianist Kim Bernard, the first laureate of the Fondation Gautier Capuçon, performs with the Foundation's founder at London's Wigmore Hall. 

Gautier Capuçon gives the US premiere of Thierry Escaich's second cello concerto, Les Chants de l’aube. 

The French cellist stays sharp with longtime chamber partner Jérôme Ducros and proudly introduces the first laureate of his new foundation.

A full frontal assault by Valery Gergiev on Brahms' First Symphony and Shostakovich's First Cello Concerto in explosive performances.

The Italian pianist is joined by Gautier Capuçon and Paul Meyer for late Beethoven and autumnal Brahms.

The Paris-based Quatuor Modigliani are joined by special guests for an evening of Schubert quintets in Évian-les-Bains. 

A delicious programme from glamour duo Gautier Capuçon and Yuja Wang, reuniting in Franck and Chopin with dynamism and depth – and a killer encore.

The Gewandhausorchester lends its distinctive voice to Mahler, Schumann, Wagner, and Mendelssohn in its second solo Leipzig Week program

Andris Nelsons conducts his "other" orchestra in Boston in a classic program of Brahms and Schubert. 

Gautier Capuçon is the soloist in a fine reading of Robert Schumann's Cello Concerto, where sheer outward display gave way to more musical values.

MTT was back in Los Angeles for another spell as guest, this time bringing to local audiences one of his specialties of the house. 

Ravel, Mendelssohn and youthful Shostakovich form a varied programme for this starry trio. 

In performing the three late masterpieces by Dvořák, Järvi found different ways to triumph. 

Capuçon warmed up through the melancholy second movement, exhibiting seamless legato and the ability to feather his phrases with finesse and subtlety

The amazing phenomenon that is Herbert Blomstedt leads the Gewandhausorchester from Leipzig in Beethoven's Triple Concerto and Bruckner's mighty Seventh.

Semyon Bychkov, the Berliner Philharmoniker and Gautier Capuçon present an outstanding programme exploring the different sides of musical heroism

Michael Tilson Thomas and the San Francisco Symphony Orchestra, joined by cellist Gautier Capuçon, presented modern, post-war masterworks in their first of two nights in Stern Auditorium.

Alain Altinoglu, conducting with a mixture of histrionic flourishes and balletic flair, leads a fiery account of Ravel's ballet. 

Cellist Gautier Capuçon and pianist Frank Braley are artists I have previously admired in many chamber ensemble concerts, but their recital at Kings Place was the first time I heard them as a duo.

A fantiastic walk through Bohemia guided by the PKF Prague Philharmonia conducted by Emmanuel Villaume, with an excellent performance from Gautier Capuçon.

MTT and the CSO were energetic partners from Stravinsky's obscure Scènes de ballet to Prokofiev's familiar Romeo and Juliet, and a Saint-Saëns cello concerto with Gautier Capuçon served as a sumptuous interlude.

The Los Angeles Philharmonic's last week of its classical music season at the Hollywood Bowl began with romantic French music under an almost full moon played the sexy Seattle way.

Beethoven's mighty Hammerklavier Sonata and Schumann's Kreisleriana made for a weighty Verbier recital programme which at times felt distinctly like 'work in progress'.

Two of chamber music's most monumental works given powerfully physical and visceral performances by the Quatuor Ébène and Gautier Capuçon.

A globetrotting programme from Dutoit and the RPO that whisked us from Rome's fountains to St Petersburg's Shrovetide Fair via Bohemia's woods and fields. 

Barcelona's L'Auditori was taken on a journey of contrasts, via Parra and Prokofiev, that unsettled as much as it delighted. 

The Cleveland Orchestra under guest conductor Lionel Bringuier perform two Ravel works, the Saint-Saëns First Cello Concerto with Gautier Capucon, and the brilliant La tragédie de Salomé by Florent Schmitt.

The Recontres inédites series is what makes the Verbier Festival famous among aficionados. The title translates – roughly – as “Unprecedented Meetings”, and that is certainly what the concerts represent: world-class soloists brought together on minimal but far from non-existent rehearsal time to play chamber music.

The fascinating Rest is Noise festival at Southbank Centre has now reached its mid-point, with the focus on music created out of oppression and war.

The program was dubbed “Romance at the Phil”, but the music presented was hardly the sort to set lovers’ hearts aflame. It could even said to be a touch staid. There was Mendelssohn and Mozart in the first half. Richard Strauss is closer to the mark – this is the composer of Salome, after all – but it was his jovial Don Quixote that closed out the night.

Who has the power, the authority to fix the moment when a major public event can start? In broadcast events, such as the Proms, where all of the concerts are broadcast on Radio 3 and many are televised, the bigger, virtual audience puts the media in the driving seat. The radio or TV producer holds sway - up to the moment when the conductor steps out into the hall.

I greatly anticipated the New York debut concert of two new European stars, cellist Gautier Capuçon and pianist Gabriela Montero. Both are artists of great passion and intensity, and they chose a program of works that reflected their myriad gifts – one mid-20th century, one early Romantic, and the last, late Romantic in style.

Die Sächsische Staatskapelle und ihr Chefdirigent Daniele Gatti gastieren in der Alten Oper Frankfurt. Sie brillieren mit einem Programm, welches die französische und deutsche Vielfalt der Romantik auslotet.

Que ce soit dans la musique française ou dans le répertoire wagnérien qui fait partie de son ADN, l'orchestre dresdois se montre éblouissant sous la baguette de son directeur musical.

Con un programa contrastante, la Staatskapelle Dresden desplegó un maravilloso sonido y una riqueza de texturas tan inusual como reveladora bajo la batuta de Daniele Gatti.

Nach dem Europakonzert in Eisenstadt folgten faszinierte Zuhörer Kirill Petrenko und den Berliner Philharmonikern in Werken von Strawinsky, Tschaikowsky und Beethoven.

Die drei Solist*innen zeigen mit Schostakowitsch, Debussy und Dvořák, warum sie auch ein kongeniales Ensemble sind.

La Filarmonica della Scala cerró su gira en Madrid de la mano de Ibermúsica y, bajo la batuta de Lorenzo Viotti, descargaron teatralidad y exuberancia a partes iguales.

Aux côtés de Gidon Kremer, Maxim Rysanov et Gautier Capuçon pour un florilège de sonates, le pianiste russe a magnifiquement servi la musique de Chostakovitch.

Die Brüder Capuçon mit Rudolf Buchbinder spielten in der Münchnern Isarphilharmonie Schuberts Klaviertrios.

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.

Kazushi Ono et le Brussels Philharmonic ont donné une version bien orageuse de la Symphonie « Italienne » de Felix Mendelssohn, tandis que Gautier Capuçon a livré une incarnation manquant de nuances dans Don Quixote.

Le violoncelliste français propose une interprétation admirable du concerto de Haydn au côté d'une formation praguoise très bien menée par Semyon Bychkov.

Le violoncelliste a délivré une performance hautement spectaculaire, aux côtés d'un Orchestre National de France dont les individualités ont brillé, sous la direction inégale de Cristian Măcelaru.