En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Varsovie

Dans un programme qui va de Haendel à Adès en passant par Haydn, Beethoven et Liszt, le pianiste ukrainien impressionne par sa science du son, sa puissance, son génie de la caractérisation.

Belle découverte de l’œuvre et de la vie d’Andrzej Czajkowski à la Philharmonie de Varsovie pour clôturer ce mois de novembre en beauté.

Two distinctly different stories represent women's right to freedom in Delusions, Izadora Weiss’ latest full-length work for Polish National Ballet.

The Polish National Opera's first staging of Strauss' massive fairy tale feels like a bold statement of intent.

In Prometheus, Krzysztof Pastor has created an epic full-length ballet for his company which serves to show-off a roster of powerful principal roles as well as a fine ensemble.

Two very popular comedy ballets to celebrate the music of Stanisław Moniuszko.

Polish National Ballet has a successful new family ballet in Anna Hop's full-length Pinokio.

A rich mix of pure dance and powerful music shows the company in very fine form towards the end of a demanding season.

Don Quixote is a sunny ballet that is impossible not to enjoy, which here provided an evening of great skill and joyful entertainment. 

Prokofiev's score is reordered, the choreography is contemporary, characters are missing, and each of the three main scenes is set during a different 20th-century time period... yet, to a certain extent, it works.

Warsaw Philharmonic celebrates the 100th anniversary of Polish independence with performances of great local composers – Lutoslawski, Szymanowski and Szabelski – and Debussy’s La Mer for good measure.

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

Given the spate of visually distracting, if not irksome productions which seem to blight the opera world these days, there is something to be said for concert performances.

Strong musical performances, but Ivo Van Hove’s Powerpoint presentation of Clemenza at the Teatr Wielki is out of focus.

Ivo Pogorelić’s return to Warsaw thirty-five years after his triumphant failure in the 1980 International Chopin Piano Competition should have been an occasion for great expectations. Sadly it was more like Hard Times.

Although nominally a Polish Festival celebrating the music of Frédéric Chopin, there was lots of Tchaikovsky on offer at this year’s event. Leading the foreign charge was the Russian National Orchestra under the direction of their mercurial maestro Mikhail Pletnev.