Live, Video: Find classical music concert, opera, ballet and dance reviews | Piano Sonata no. 30 in E major, Op.109

From Copland and Judith Weir to late Beethoven, a double bill of delights in Sheffield.

Aided by an immaculate technique and great beauty of sound, the pianist brought new and exciting ideas to familiar works, balancing spontaneity with careful construction in his interpretations.

At the Firkušný Festival, the pianist shows remarkable skill and stamina, but little inspiration in Beethoven's final three piano sonatas.

Beethoven's summation of his keyboard writing is open to a variety of interpretations. Sir András Schiff asserts noble tradition over revolutionary impulse.

Early and late Beethoven in the closing two recitals of Wigmore Hall's Beethoven Festival Weekend. 

Igor Levit, praised for his distinctive and sometimes unconventional approach to Beethoven's 32 piano sonatas, brought his cycle to a close with a concert of profound philosophy and bold contrasts.

At BRQ Vantaa Festival, Ronald Brautigam opens eyes and ears, displaying immaculate technique on a replica of a Beethoven-era piano.

Subtle and sublime, Denk delivers a memorable Mozart Rondo and Beethoven Op.109 and a marvellous Goldberg Variations.

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

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.

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

Sir András Schiff delights Vancouver in the nuances of late sonatas by Haydn, Mozart, Beethoven and Schubert. 

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

Igor Levit’s star is rising fast: a BBC New Generation Artist, an exclusive recording deal with Sony Classics, and a debut CD of Beethoven’s late piano sonatas have already brought this 26-year-old pianist attention and acclaim, and on Tuesday evening he opened the 2013/14 International Piano Series at London’s Southbank Centre with a performance of Beethoven’s last three piano sonatas to a full h

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.

Though born in America, Stephen Kovacevich has lived in London since moving there to study with the great Dame Myra Hess at the age of eighteen. He clearly has a special rapport with British audiences, as his amiable manner in discussing his encores demonstrated.

Mit Beethovens letzten drei Sonaten, findet der Zyklus einen fulminanten Abschluss.

Dans la dernière ligne droite de son intégrale des sonates pour piano de Beethoven, Daniel Barenboim semble en retrait et délivre des interprétations sans relief.

Igor Levit livre un récital Beethoven travaillé et déroutant. Somptueuses, les Sonates opus 109 et opus 110 paraissent néanmoins factices, privilégiant l'instant à la grande trajectoire... que l'on trouve heureusement dans les Diabelli.

Dans la programmation du festival Piano aux Jacobins, le virtuose d’Alexandre Tharaud était bien évidemment très attendu. Celui qui fêtera ses cinquante ans en fin d’année 2018 n’est plus à présenter tant sa personnalité s’est imposée dans le paysage français et international. 

Retour sur les grands débuts parisiens du pianiste japonais Nobuyuki Tsujii au Théâtre des Champs-Elysées.

Zacharias ofreció un recital atípico donde hubo momentos de excelencia artística frente a otros en los que la interpretación resultó confusa y poco acertada, y del que cabe destacar la enorme maestría del intérprete sobre el sonido y su capacidad para proyectarlo.

Concert en noir et blanc de Christian Zacharias, dont la première partie, décevante, ne laissait pas imaginer la seconde partie, qui fut un grand moment de piano.