Live, Video: Find classical music concert, opera, ballet and dance reviews | Concerto no. 10 in E flat major for two pianos, K365 (K316a)

Shared purpose, gathering force: Yunchan Lim and Minsoo Sohn join forces for a Mozart double piano concerto at the Lotte Concert Hall, Seoul. 

Dame Imogen Cooper’s valedictory concerto performance was affectionately received by a near capacity audience at The Glasshouse.

Like the grainy intensity of a high-contrast black-and-white photograph, these rugged edges accentuated Mahler’s expressive extremes, reaffirming the conductor’s innate flair for crafting a grand aesthetic narrative within the symphony’s expansive architecture.

All good things must come to end, but Manchester Camerata's Mozart piano concerto cycle did so in exceptional style in Stoller Hall.

The Baltimore Symphony Orchestra dedicate their performance to former music director Yuri Temirkanov, who died last week.

The BSO selected two sumptuous works of Strauss to contrast the joyousness of Mozart’s Concerto for Two Pianos. 

Jussen brothers thrill in Mozart, but a pastoral Enescu-Beethoven tandem proves great programming still exists.

Bringing their residency to a close, Anderson and Roe perform Mozart’s concerto for two pianos. Anu Tali makes her RLPO debut with Bernstein, Tubin and Sibelius.

Katia and Marielle Labèque were memorable in Mozart’s Concerto for two pianos, K.365.

An inspiring sight in a troubled year: a hundred young Europeans coming together in the European Union Youth Orchestra celebrating music and friendship.

Three emerging stars brighten Atlanta's Symphony Hall with Mozart and Prokofiev.

Let’s not beat about the bush: the BBC Symphony Orchestra wouldn’t rank among my top ten orchestras in the world. Semyon Bychkov, however, has a transformative power over its players and in a monumentally impressive account of Dmitri Shostakovich’s Leningrad Symphony, Bychkov made the BBCSO truly sound one of the world’s greats.

Marielle and Katia Labèque are reunited with the RCO after more than 15 years in Mozart’s Concerto in E flat for two pianos. 

Who would have thought a program of water sprites and revolutions spanning 200 years could be so seamless? 

By far the smallest audience yet for the Hallé’s Beethoven Symphonies cycle gathered for this eighth instalment, conducted by Edward Gardner, and the absentees missed an evening of supreme charm and playfulness.Luciano Berio’s Rendering is a ‘restoration’ (not a completion, as the composer was very clear), of sketches for Schubert’s Tenth Symphony.

If you go to enough concerts, it’s bound to happen to you every now and then: the programme includes a work that you weren’t particularly looking forward to, and the performers blow you away, utterly transforming your view of the piece. In this case, the performers were Camerata Bern and the work was Bartók’s Divertimento for strings.

Three symphonies in one programme! Anyone who has ever sat through all ninety minutes of Mahler’s 3rd Symphony would be permitted a slight shudder upon reading the concert order of Sir Simon Rattle’s latest performance with the Orchestra of the Age of Enlightenment.

Après un Concerto pour deux pianos K365 de Mozart idéal sous les doigts de Lucas et Arthur Jussen, l'orchestre viennois et son directeur musical ont déçu dans la partition monumentale de Richard Strauss.

En solo ou avec ses confrères pianistes, la jeune Sophia Liu est la révélation du jour au festival rocassien. Retour sur une journée riche en émotions, avec une fabuleuse soirée mozartienne.

Rodrigo Macías González y el Dúo Gerwig & González interpretaron Mozart y Mahler con la Orquesta Sinfónica del Estado de México.

Après les admirables Cinq Éléments de Qigang Chen, le concert de l'Orchestre de Paris a perdu de sa superbe avec un concerto mozartien conventionnel et une symphonie de Dvořák bien mal servie.

Nach einer wunderbaren ersten Mozart-Hälfte mit Cecilia Bartoli und Martha Argerich kam das Konzert zu einem unerwarteten Ende.

Une belle soirée proposée par l’Orchestre de la Suisse Romande qui sous la direction de Jérémie Rhorer offrira des Mozart élégants, mais un Tchaïkovski qui n’eût de « Pathétique » que le nom : gommant la noirceur de cette fresque russe, il en souligne les détails et en étouffe le souffle épique.