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The Seattle Chamber Music Society opens its 2025 summer festival with a program of striking emotional depth, musical refinement and rapturous ensemble connection.

Late-career works by Lyadov, Bartók and Rachmaninov dominated the program, which featured Inon Barnatan as piano soloist.

Inon Barnatan hits the ground running with Ravel in his recital, concluding with his own transcription of Rachmaninov's Symphonic Dances. 

Oksana Lyniv gets the best out of The Cleveland Orchestra, treating the audience to spellbinding versions of charming fables.

Karina Canellakis comes along at just the right moment to see what a possible contender for the open LA Phil post could bring. 

The pure and clean sound universe of Sibelius shines as Osmo Vänskä visits Disney Hall for the weekend. 

OSM Music Director Designate Rafael Payare elicits some gorgeous music-making in Tchikovsky and Sibelius. 

Inon Barnatan performs Mozart’s C minor piano concerto with the Royal Liverpool Philharmonic Orchestra, while Joshua Weilerstein impresses with his musical insights into Dvořák's Seventh Symphony. 

Karina Canellakis makes her first appearance at the Royal Festival Hall as the LPO’s Principal Guest Conductor, giving a punchy account of Sibelius’ Fifth Symphony that takes in the sweep of its mighty architecture.

“I missed dress applause!” Renée Fleming returns to live performance in style with a recital alongside pianist Inon Barnatan. 

With his more restrained approach and great variety of tone, Barnatan proved to be a great partner for the intense cellist.

In Boston, an inventive program of Ravel, Honegger and Milhaud explores the Parisian musical melting pot of the 1920s and 30s.

Inon Barnatan and Robert Spano perform a taut Mozart piano concerto in Atlanta.

The Boston Symphony Orchestra offered a reading of Beethoven's “Pastoral” Symphony that ideally suited the bucolic surroundings.

From chic Ravel to Mussorgsky's more rugged Pictures at an Exhibition, Inon Barnatan's International Piano Series debut took listeners on a tour of the piano's colours. 

The Minnesota Orchestra’s visit offered a chance to hear Gershwin’s Piano Concerto and Ives’ Symphony no. 2, though the former suffered somewhat from an absence of spark.

Robert Spano led the Atlanta Symphony Orchestra closed out its regular season with a thrilling Scheherezade.

The unmistakable approach of the American cellist lent itself easily to both Stravinsky and a recent work by Steven Mackey. It also twisted Brahms a little beyond recognition.

Andrés Orozco-Estrada conducts the LPO in a dramatic programme of Beethoven’s Emperor concerto and Showtakovich’s Leningrad symphony

As a composer, what do you do when you are commissioned a full-length orchestral work to commemorate the anniversary of a renowned concert hall? Do you try to write something celebratory? Not in Mark-Anthony Turnage's case. 

Jesús López-Cobos returned to the CSO with works of Turina and Dvořák flanking Gershwin’s Concerto in F with Inon Barnatan.

The American cellist unlocked a corporeal vault –thus shining light on musical internal organs that we never knew existed.

Mozart Dances is a great piece of work and when paired with Garrick Ohlsson and the Mostly Mozart Festival Orchestra, it’s a terrific night at the theater.

Provocative and abstract Copland paired with resolute Schumann proved to be a tastefully refreshing combination; especially when coupled with the seasoned chemistry of MTT and the SFS.

What’s next for the outgoing Music Director of the New York Philharmonic? It’s unclear. But this program reflected both his legacy and the gifts he will carry down the road.

Inon Barnatan performs a meticulously planned recital in New York's 92nd Street Y. 

Framed by passionate performances of Mendelssohn and Brahms, a gorgeous neo-Romantic work by Steven Stucky is unveiled in this installment of the 2015 Summer Festival. 

The Israeli pianist's lyric gift shone above all else in a programme of pianistic heavyweights.

For a performer with a reputation for intelligent, thought-provoking programming, this looked rather an odd selection of works. The first half of this Wigmore Hall recital featured three pieces Inon Barnatan recorded on his 2012 CD Darknesse Visible, charting works based on other works; Debussy on Verlaine, Stevenson on Britten, and Ravel on Poe.

Beethoven started it, the piano’s duologue with the cello, in 1801, with his Seven Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s Die Zauberflöte. Beethoven himself, and many composers from Brahms (1862) through Lera Auerbach (2002) continued to ornament this form. In 1968, Jacqueline du Pré and Daniel Barenboim, with their recording of Brahms’ Cello Sonata no.

La Orquesta Sinfónica de Tenerife y su titular Antonio Méndez ofrecieron el primero de los tres conciertos dedicados íntegramente a Robert Schumann. Actuó como solista el pianista Inon Barnatan.