Live, Video: Find classical music concert, opera, ballet and dance reviews | Piano Concerto no. 3, Sz 119

Tianyi Lu triumphs in her return to Montreal with a distinctive approach to Tchaikovsky's Fifth. Pierre-Laurent Aimard gives a spirited performance of Bartók's Third Piano Concerto.

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

Alan Gilbert and his NDR Elbphilharmonie Orchester partner first Igor Levit, and then Michelle DeYoung and Gerald Finley, in a night of outstanding music-making devoted to the music of Bartók.

Mihhail Gerts and Vadym Kholodenko delight in Bartók, while the Ulster Orchestra’s playing pleases in two five-movement symphonic works. 

Masterful accounts of two great symphonies by Concerto Budapest in Dublin and fascinating Bartok from Pierre-Laurent Aimard. 

Iván Fischer and the BFO, together with Sir András Schiff and Anna-Lena Ebert, remember Ligeti and take Bartók to Parnassus, where they give an electrifying performance of the Eroica.

Ernő Dohnányi's Symphonic Minutes made its first appearance on a Philharmonic subscription program since 1940, followed by a stirring account of Bartók’s Third Piano Concerto with Sir András Schiff.

In an evening of Hungarian and Bohemian inspired music, Jean-Efflam Bavouzet sparkles in a performance of Bartók’s Third Piano Concerto.

The program also featured a compelling world premiere from composer Valerie Coleman and a stirring performance of Dvořák's “New World” Symphony.

Franz Welser-Möst thoughtfully paired Schubert’s final mass with Bartók’s final piano concerto, the latter featuring Mitsuko Uchida in her 100th Cleveland Orchestra appearance.

RLPO debutante Kahchun Wong makes a distinctive first impression in a programme of iconic works from the 20th century.

Dame Mitsuko Uchida again brought out her outstanding musicality and special charisma in Bartók’s Third Piano Concerto.

A stirring account of Elgar’s First Symphony from Sir Mark Elder and the LSO, with a rare outing given to Janáček’s last orchestral work and Francesco Piemontesi polished in Bartók.

A generous programme that brought out much felicitous detail from the LSO in Debussy’s Jeux and plenty of sparkle from Simon Trpčeski in Bartók, but it was Mahler that took game, set and match. 

Crisp Bartók, eloquent Schubert and a poignant tribute to Zoltán Kocsis in the Budapest Festival Orchestra's latest concert. 

The Slav pianist brings his informal vision of Bartók to Symphony Hall.

Juanjo Mena conducts the BBC Philharmonic in a brilliant programme of Bartók and Shostakovich at the Bridgewater Hall.

Gergiev and the LSO in an explosive, primeval Rite of Spring.

Elegant Iván Fischer and the Budapest Festival Orchestra team with seasoned soloists, Yefim Bronfman and Miah Persson, for peerless Bartók and Mahler.

Schoenberg's extraordinary orchestration of Brahms' G minor Piano Quartet completes a satisfying Sydney Symphony Orchestra concert under the baton of Matthias Pintscher. 

The program included Bartók's third Piano Concerto and Stravinsky's Pétrouchka, with Sibelius' Oceanides rounding out a program that combined intellect with theatricality.

Alan Gilbert leads the New York Philharmonic with guest pianist Yefim Bronfman in a concert of contrasts: Bartók's Piano Concerto no. 3 and Bruckner's Symphony no. 8 in C minor.

The Philadelphia Orchestra doesn’t look much different from any other orchestra, but their most recent program at Carnegie Hall with conductor Yannick Nézet-Séguin produced at times unbelievable sounds.

Sir Peter Maxwell Davies, Scottish Chamber Orchestra composer in residence in the late 1980s, seemed an appropriate choice to write a piece for this, the orchestra’s 40th anniversary year. As the title suggests, Concert Overture: Ebb of Winter was written during the approach of Spring this year and portrays the changing seasons in Maxwell Davies’ adopted homeland of Orkney.

Debussy, Stravinsky, Bartók and Ravel: this program was a perfect opportunity for the Orchestre de Paris to show off its beautiful playing and brilliant technique with modernist masterpieces.

It is the rare concert for which one can say that each half of the program would have sufficed as the sole offering of the night; when each half contains personality, wisdom, a sense of history, life-risking music-making, and attractive and important repertoire.

In its sixth season, the Zurich International Concert Series has attracted some well-known, but less-heard orchestral names to London. The series enables the full force of orchestras to be heard in the relatively intimate space of Cadogan Hall, which is otherwise famous for attracting chamber ensembles of the highest calibre.

New York’s Mostly Mozart Festival continued Friday evening with three works, all marvelous and presented in reverse-chronological order. After Witold Lutosławski’s Muzyka żałobna, the orchestra and conductor Louis Langrée were joined by French pianist Jean-Efflam Bavouzet for Bartók’s Piano Concerto no. 3, and the concert concluded with Mozart’s Symphony no. 39 in E flat major.

Thursday night’s BBC Proms was a celebration of Sibelius, Bartók and Janáček, composers who mastered the classical music tradition and put their home countries on the map.Summoning images of the Finnish countryside, Scènes historiques, Suite No. 2 displayed a range of orchestral colours.

Joana Mallwitz malt mit ihrem Konzerthausorchester musikalische Bilder von Haydn, Bartók und Strawinsky.

Dans le Troisième Concerto de Bartók, soliste, chef et orchestre ont proposé une interprétation admirable et indissociable, avant une Symphonie « du Nouveau Monde » d'une très grande justesse.

Voll romantischer Dynamik präsentierten sich das Orchestre de Paris, Kirill Gerstein und Klaus Mäkelä in der Pariser Philharmonie.

À l'occasion d'un week-end consacré à l'univers musical de Stanley Kubrick, l'Orchestre Philharmonique et le Chœur de Radio France, sous la direction d'Alan Gilbert, proposaient un concert autour des compositeurs qui ont inspiré le cinéaste.

La escala madrileña de la gira comandada por Perianes y Heras-Casado auspició una iluminación polisémica. No se trató únicamente de redescubrir y pensar las “zonas oscuras” de la historiografía musical, sino que también, y en ello radica lo primordial, el ejercicio constituyó un fin en sí mismo.

La temporada de la Sinfónica de Galicia recibía la visita de un jovencísimo director, el finlandés Klaus Mäkelä ante un programa especialmente atractivo: una obra infrecuente de Schumann, con el siempre revelador Javier Perianes en el tercer concierto para piano de Bartok, y una breve y concentrada segunda parte con la Noche transfigurada de Schoenberg.

Tel est le tarif pour quiconque assiste à une performance du chef québécois. Nous autres parisiens, avions eu la chance de l’entendre dans son intégrale Mendelssohn, c’était au tour de Mahler et de sa 1ère Symphonie.

Quoiqu’on l’ait sentie moins à son aise au départ, Hélène Grimaud a livré une performance remarquable et une lecture tout à fait heureuse de la partition.