En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Schumann C.

Dans Clara Schumann, Busoni, Franck et Ravel, les mains de l'artiste britannique trompent la mécanique du piano, donnant lieu à un récital merveilleux de raffinement.

Dans un somptueux récital-hommage aux musiques que l'héroïne de Flaubert aurait pu écouter dans son salon, David Kadouch déploie un pianisme qu'il faut préserver comme une espèce en voie de disparition.

Donné du 20 janvier au 2 février, le diptyque pensé par le Centre de Musique de Chambre de Paris ne manque ni de matière, ni de cohérence. 

Le Kursaal de Besançon proposait un audacieux programme au féminin, autour de la création mondiale de la Symphonie « Grande Guerre » de Charlotte Sohy et auquel Debora Waldman et Marie Vermeulin ont fait honneur.

Avec un remarquable trio de jeunes talents (Laetitia Volcey, Élise Bertrand et Pierre Gasnier), le Festival Présences Féminines rend hommage à la compositrice Clara Schumann, en cette année du bicentenaire de sa naissance. 

Alors que sa Traviata a créé l'évènement le mois dernier au Metropolitan Opera de New York, Sonya Yoncheva revient à Paris pour un récital inattendu et intime, autour de Clara Schumann et Pauline Viardot. Pari réussi.

Mardi 15 et mercredi 16 juillet, les concerts donnés à 18h dans la Salle Pasteur du Corum étaient consacrés aux compositrices pionnières. Les interprètes ont pris plaisir à sortir de l’ombre des œuvres méconnues, à la beauté inédite : une excellente initiative doublée d’une réalisation impeccable.

The Japanese pianist brings his own perspectives to less frequently played works, including his trademark Mozart. 

Yannick Nézet-Séguin and the Philadelphia Orchestra pair Clara Schumann's inventive Piano Concerto in A minor with Florence Price's fascinatingly complex Third Symphony, bookended by unnecessary Ravel.

Sería necesariamente destacable la alegría intrínseca que se experimentaba como consecuencia de percibir una evidente conexión de la pianista con su repertorio y con el público

The Davos Festival's programme, underscoring the extraordinary talents of some dozen young musicians, is a polished and highly inviting offer. 

Hans Abrahamsen makes a powerful statement in his latest orchestral work, while Yannick Nézet-Séguin, Beatrice Rana and the BRSO make a spirited attempt to reawaken interest in Clara Schumann's only concerto.

The all-female program Schultz and pianist Jonathan Ware brought to the Philadelphia Chamber Music Society spanned three centuries, three languages and several continents.

A trio of Romantic works are performed under the baton of Giancarlo Guerrero, making his Philharmonic debut alongside pianist Alessio Bax.

The RLPO with their new chief conductor herald a return to full-scale orchestral performances with an evening of dances, plus Clara Schumann's far too rarely heard Piano Concerto. 

A risk-free, splendid musical feast for a summer festival, magnificently performed in Verbier's church.

Little had planned to quit in August, but Covid-19 threw all her concert plans into disarray, but last night took a significant step towards the exit, bidding farewell to London’s Southbank Centre.

The final day of Oxford Lieder's 80-event festival was framed by two recitals taking us from the world of German folklore andDes Knaben Wunderhorn, to the pain and drama of romantic entanglements. 

The Amatis Trio deliver insightful performances of Clara Schumann's Piano Trio and Three Romances, alongside Robert Schumann's Adagio and Allegro, in their lunchtime Prom at Cadogan Hall.

Katya Apekisheva and friends made a persuasive case for Hummel's Piano Quintet to be heard as a transitional grand romantic concerto deserving of belonging in such august company.

A fine concert, the first in a series celebrating the bicentenary of Clara Schumann's independent musical mind.

By using Schumann’s Novelletten to draw a broad dramaturgical bow over the whole evening, Martin Helmchen stands on his own as a bold and highly creative pianist.

The program focused on the essential role that Clara Wieck-Schumann had in the artistic development of both Robert Schumann and Johannes Brahms.

Only a few days ago, the newly elected Canadian Prime Minister Justin Trudeau made history and provoked frenzied headlines by forming his cabinet with an equal number of men and women.

Both a grand and intimate programme from Imogen Cooper, centred around the music of Robert Schumann. 

For many, the phrase “music competition” has an unsavoury ring to it. One thinks of the tearful children of pushy parents, the crazed violinist whose failure has pushed him over the edge or perhaps even some of the more barbaric (yet horrifyingly watchable) talent shows on TV. Fortunately there is another side to these competitions: the fantastic platform they provide to talented musicians.

German baritone Roman Trekel, who made a rare London appearance replacing Dorothea Röschmann at the Wigmore Hall on Friday night, is a highly respected singer known especially for his many Wagner roles as well as for his Lieder interpretation. I first encountered him singing Wolfram in Tannhaüser at the Bayreuth Festival some years ago.