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Argerich sprinted through technical runs with her characteristic articulation and breathtaking technique, and made Prokofiev's Third seem like child’s play.

The fast-rising Italian pianist Beatrice Rana offered a triumph of technique, but her playing lacked much emotional engagement or wit.

Jakub Hrůša and Simon Trpčeski with the New York Philharmonic Orchestra impress at Lincoln Center with a programme of works from Central and Eastern Europe. 

Honouring a quarter-century since their creation, alumni from the orchestra united to give a very special anniversary commemorative concert filled with musical fellowship and pride. 

The Berlin Philharmonic gives a first half party before a dark Schmidt symphony. 

A triumphant night for the CBSO, Harish Shankar and Boris Giltburg, with the mighty Saint-Saëns’ “Organ Symphony” and an inspired performance of Prokofiev’s Piano Concerto no. 3.

Yuja Wang brings brilliance to Prokofiev at the Philharmonie, but Petrenko's conducting of rarities by Dukas and Schmidt also prove richly rewarding.

Vladimir Ashkenazy and the Philharmonia Orchestra excelled in a fascinating exploration of post-revolutionary Russian music under the banner ‘Workers and the State’.

Stephen Mulligan again steps in to lead the Atlanta Symphony in exemplary performances.

The LPO gave us a tantalising reminder of summer before plunging us into the icy chill of Tchaikovsky’s Winter Daydreams. 

After a nine-year absence, Martha Argerich returned to Carnegie Hall with stunning Prokofiev with the Orchestra dell'Accademia Nazionale di Santa Cecilia.

The muscular piano playing of Nikolai Lugansky could not save the Russian National Orchestra’s shoddy Enescu and Prokofiev.

The St Petersburg Philharmonic playing Shostakovich's Fifth Symphony – a work it premiered in 1937 as the Leningrad Philharmonic – was a highlight of a superb concert concluding its UK tour. 

Fifty years on, Argerich is still the legendary tigress of the keyboard, yet more besides.

An impressive programme from the RSNO at Edinburgh’s Usher Hall which only took off during Mahler's mighty First Symphony. 

Lang Lang's Prokofiev was ostentatious, but it was Duoit's visionary take on The Firebird that was truly the standout.

The BBC’s biennial Young Musician competition reached its thrilling climax in an absorbing, nail-biting and inspirational final concert at London’s Barbican yesterday afternoon.

This Anvil concert revealed a “two sides of the same coin” quality from an illustrious orchestra that left a mixed, but mostly favourable impression.

The Orchestre Symphonique de Montréal and Kent Nagano give terrific performances of Debussy, Prokofiev and Stravinsky as they embark on their American tour. 

Valery Gergiev led an athletic pilgrimage through composer-pianist Sergei Prokofiev’s five Piano Concerti, in numerical order, at the Brooklyn Academy of Music.

Powerful Romeo and Juliet and triumphant Scriabin from the Philharmonia and Salonen, with moments of excitement in Prokofiev from Lang Lang.

What on paper might have looked like a circus act – wheeling out three pianists to plough through Prokofiev’s five piano concertos – turned out to be a fascinating opportunity to compare and contrast.

A five star evening with Sakari Oramo and the BBCSO in 1920s masterpieces.

The Detroit Symphony played its best concert in over a year, with Prokofiev's Third Piano Concerto proving the highlight. 

In an exciting programme of Prokofiev, Penderecki and Lutoslawski, two musicians debuted with the Rotterdam Philharmonic. Both impressed greatly.

Prokofiev and Bartók bring out the best in Lionel Bringuier in his Philharmonia Orchestra debut, joined by pianist Simon Trpčeski. 

This was a concert that provided the opportunity for so many individual musicians to shine and the Bournemouth Symphony Orchestra’s shone brightly, showcasing its truly amazing talent. 

Works from Magnus Lindberg, Prokofiev and Shostakovich set the tone for an exciting forthcoming season from the LPO.

Cristian Mandeal returned to the Hallé to direct an intelligent performance of Rachmaninov’s ever popular Second Symphony, with Sofya Gulyak playing Prokofiev’s Piano Concerto no. 3 in C major.

Prokofiev’s Third Piano Concerto and Shostakovich’s “Leningrad” symphony were wonderfully played by the Orchestre de Paris and Alexander Toradze at the Salle Pleyel, despite Mikko Franck's last-minute cancellation.

At London's new venue Milton Court, Kensington Symphony Orchestra played a mixed Bruckner 3 and an excellent Prokofiev concerto with soloist Nikolai Demidenko.

A combination of Russian and English masterpieces formed the fourth concert of the London Symphony Orchestra’s 110th season. Three of the pieces were written and/or performed during the Second World War, whilst the remaining piece – Prokofiev’s magnificent Piano Concerto no.

Featuring works inspired by Shelley, the Kalevala and Nietzsche (with a piano concerto thrown in for good measure), the programme for Prom 64 was certainly wide-ranging. The theme for the concert was the development of the tone poem, with the Bantock, Sibelius and Strauss pinned together by the idea of nature and the supernatural.

The opening concert of the 2013 Edinburgh International Festival was a Scottish-Russian collaboration. The RSNO, the home team on home turf, featured two Russian soloists, all under the baton (or, more accurately, the open hands) of Valery Gergiev at Usher Hall.

It took the Royal Philharmonic Orchestra a little while to settle into tonight’s performance – which was a shame, because Borodin’s overture to Prince Igor can be a fantastic programme opener. A slightly untidy brass chord began the measured introduction, which sadly lacked tension in the build-up to the sudden fanfare and breakneck main theme.

Who knew glaciers were so musical? Arensky Glacier, named for the composer of this all-Russian programme’s opener, flows south from Beethoven Peninsula into the north end of the Antartic’s Boccherini Inlet. There is nothing chilly, however, about the 1894 Variations on a Theme of Tchaikovsky by Anton Arensky (1861–1906).

Sometimes, when hearing an instrumentalist’s debut with an orchestra on a tight schedule of concerts and rehearsals, an encore tells you even more about the quality of the soloist than the concerto that precedes it. Such was the case here, as young superstar Daniil Trifonov obliged a typically generous audience at Lincoln Center with Liszt’s transcription of Schumann’s “Widmung”.

It can't be often that a poet declares that the selection and setting of his words to music has turned them into better poetry.

Friday's concert from the Sydney Symphony, "Fireworks and Fantasy", most certainly lived up to its title.

Russian was the theme and Russian the temperament in this concert, part of an ongoing series at the Barbican. This particular group of "Gergiev's Russians" consisted of Tchaikovsky, Prokofiev, and Shostakovich, in music spanning seventy years of compositional history.

It was your standard evening at the symphony: a brief standalone selection for orchestra, a flashy concerto, and, after intermission, a weighty symphonic masterpiece. Well, it seemed so on paper at least.

Le City of Birmingham Symphony Orchestra débarque au Théâtre des Champs-Élysées sous la baguette de sa directrice musicale. Un programme bien ficelé autour de Ravel, Brahms et Prokofiev avec la pianiste Yuja Wang.

Bei Bringuiers Abschied von der Tonhalle herrscht mit Strauss' Don Quixote musikalisches Theater auf dem Podium, bevor Yuja Wang Prokofjews Drittes spielt.

Nicholas Angelich rejoint l'Orchestre National du Capitole de Toulouse sous la baguette de Tugan Sokhiev pour interpréter un 3ème concerto de Prokofiev charnel et voluptueux. Musique française aussi, dont une création de Mantovani.

Le piano de Béatrice Rana est d'une beauté renversante, au service d'une interprétation soumise à un idéal de maîtrise et d'équilibre

Oramo condujo de forma vibrante, extrayendo de cada atril precisión y concentración, que se tradujeron en interlocución sublime con la voz desgranada por Luganski. Merece ser resaltado el asombroso dominio del cambio de compás, incesante y libre de devaneos o incertidumbres en los engarces.

La joven pianista Beatrice Rana debutaba en el Palacio de la Ópera de La Coruña junto a la Orquesta Sinfónica de Galicia. Se presentó bajo la batuta de Otto Tausk con el diabólico Concierto núm. 3 de Prokofiev, el cual acometió con una brillantez y transparencia magníficas. El interés no decayó con el Aprendiz de brujo y la paradigmática La Mer de Debussy en las que la orquesta dio buena muestra de su ductilidad.

Musique russe et ukrainienne au programme de ce soir avec l'Orchestre Philharmonique de Radio France sous la direction d'Andrey Boreyko et Lukas Geniusas au piano : Prokofiev, Tchaïkovsky et Silvestrov, compositeur trop peu joué en France à découvrir de toute urgence.

Voilà quelques années que Valery Gergiev a marqué cette musique au fer, et le jour viendra bientôt où maestro voudra faire entendre les cinq concertos au cours d’une même soirée. Pour l’heure, il s’en tient aux trois premiers...

Como el aprendiz de brujo, bajo su batuta mágica Antoni Wit logró que la Orquesta Sinfónica de Navarra y el pianista Peter Jablonski transformaran las composiciones de los grandes compositores rusos del siglo XIX y XX en olas bulliciosas y torbellinos de vientos que cautivaron el auditorio del Baluarte.