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

Que les voyeuristes impénitents se précipitent au prochain récital que donneront ensemble Denis Matsuev et Julian Rachlin ! Objet de curiosité publique pour certains, soirée tout sauf subtile pour d'autres. A réserver aux fanatiques de "gros son" avant tout.

Achevé en 1985 et créé à Mannheim en 2013, l'Idiot de Mieczysław Weinberg est une authentique rareté. Première reprise depuis, on est ravi qu'elle ait enfin été présentée dans des conditions musicales et vocales qui lui rendent pleine justice et contribuent à la sortir toujours un peu plus de l'oubli.

Pour clôturer la saison, le théâtre du Bolshoï donne sa version de la Damnation de Faust de Berlioz, avec la complicité du metteur en scène allemand Peter Stein. Version respectueuse du livret et de la partition, qui cherche la beauté et la force expressive avant tout.

Concert Mozart - Schnittke - Brahms, qui nous permet notamment d'entendre le concerto pour alto de Schnittke, oeuvre d'une incroyable richesse stylistique et expressive.

Au programme de ce soir, de la musique russe tournée sur son propre passé, et s’inscrivant dans la grande lignée de ce qui l’a précédée. Au programme : Rubin, Medtner et Rimsky-Korsakov.

Concert 100% Rachmaninov au conservatoire de Moscou, avec le pianiste Denis Matsuev entouré de la basse Mikhaïl Petrenko, du violoniste Gayk Kazazyan et du violoncelliste Alexandre Ramm. Interprétations spectaculaires s'il en est.

Pierre-Laurent Aimard nous propose l'intégrale du premier cahier du Clavier bien tempéré de Bach. Une expérience singulière à la recherche d'une unité dans la diversité des préludes et fugues.

Les amoureux de Prokofiev sont servis : le compositeur fête aujourd’hui ses 125 ans ! Pour l’occasion, l’orchestre du théâtre Mariinsky, avec à sa tête Valery Gergiev, vient à Moscou souffler les premières bougies d’un « Marathon Prokofiev » chronologique qui se poursuivra en parallèle à Moscou et Saint-Pétersbourg.

S’il est une chose qui caractérise Prokofiev, c’est bien son imagination débordante. Les cinq premières sonates pour piano nous le prouvent, avec les pianistes Daniil Trifonov ,Katia Skanavi, Ilya Rashkovskiy et Denis Kozhukhin.

Dans la grande salle de la Philarmonie Tchaïkovsky de Moscou, le pianiste Alexandre Ghindine Il nous offre un récital au pianisme galopant, dominé par les figures de Liszt, Chopin et Scriabine, tous trois pianistes de renoms, maîtres dans l’art d’écrire pour l’instrument.

The 140th anniversary of the composer’s birth is celebrated with a three-concert festival in the city of Yekaterinburg.

Tenor Dmitry Korchak was the pick of the soloists in this concert performance by Novaya Opera. 

Intrada's concert on the Great Feast Day of Orthodox Christmas featured first performances of music by Peter the Great's favorite composer Vasily Titov in more than 300 years.

The Bolshoi dancers Anna Tikhomiova and Artemy Belyakov shine in the stylish and poetic version of La Sylphide by Johan Kobborg.

In Tarkovsky's venerable production, the Mariinsky orchestra and chorus are brilliant – but too brilliant for their soloists, including two replacement Borises for an indisposed Mikhail Petrenko.

Rodion Shchedrin's opera mixes singing, choreography and storytelling to lend a potent sacred and mystic overlay to Nikolai Leskov's folk tale.

Isabelle Patriot-Pieri's new production is a quirky mix of traditional and the opposite; Netrebko shows her star quality; Eyvasov impresses.

Valery Gergiev and the Mariinsky Orchestra celebrate Stravinsky with a gala that closes with an outstanding Firebird; young talent blooms in A Soldier's Tale

After being banned in Soviet times, The Bright Stream made a glorious comeback in a new version by Alexei Ratmansky. 

Etudes is a welcome addition to the Bolshoi's repertoire.

Lantratov played Onegin with considerable nuance and intensity.

Mikhail Lobukhin gives a stunning performance as Ivan in the bolshoi's production of Ivan The Terrible

The Bolshoi chooses musicality and technique over special effects with Yuri Grigorovich's beloved classic.

Balet Moskva's prize winning cafe Idiot shows that Russian contemporary ballet is not there yet, but is making great progress. 

The Bolshoi's soloists perform La Bayadère with distinction 

Given the unappealing score and the lack of narrative and meaninful choreography, the dancers perform heroically.

While the ballet's libretto is dated, The Golden Age can, when performed by great artists, be both an entertaining and emotionally satisfying ballet.

In its first full staging in Russia, Miecysław Weinberg’s complex, eclectic score is sung and played with excellence; Thaddeus Strassberger's direction and staging presses all the emotional buttons.

The Mariinsky’s Fountain of Bakchisarai fails to inspire.

The Mariinsky Ballet presents La Bayadère, here performed by a stellar cast with Diana Vishneva, Kimin Kim and Viktoria Tereshkina in the lead roles.

Olga Smirnova's performance as Raymonda, at the Bolshoi, was nothing short of extraordinary. 

The Bolshoi Ballet's Nutcracker's simple narrative spans both acts with no extraneous characters and activities.

The 30 members of the male corps de ballet almost stole the show at the Bolshoi with the astonishing power of their dancing, alongside a leading quartet of soloists in Legend of Love.

Anton Batagov's recital at the 3rd Eurasia Festival encouraged listeners to discover the sounds of invisible worlds.

At the Eurasia Festival, the RAI Orchestra provide a thoroughly memorable evening of Italian music spanning a century.

The first evening of the Eurasia Festival dissolved all invisible and symbolic borders.

A unique collaboration between choreographer Yuri Possokhov and theatre director Kirill Serebennikov who adapted Lermontov's novel for the Bolshoi's new stage.

Angelin Preljocaj's sublime Le Parc is performed again by the Mariinsky Theatre, with Diana Vishneva leading the company in this ode to love.

The Stanislavsky Ballet presents a triple bill dedicated to the late American choreographer Jerome Robbins. A fresh performance, with guest performances by Natalia Osipova and Sergei Polunin.

Ballet Moscow closes its season with a last performance of Eros. Minos. a duet of works by Anabelle Lopez Ochoa and Juanjo Arquez.

The Bolshoi ballet presents again Neumeier's Lady of the Camellias, after its succesful entry into the repertoire in 2014.

Performing their prize winning The Taming of the Shrew in the Dance Open Festival at St Petersburg, this is a new-look Bolshoi company indeed!

Musikalisch und emotional kochte diese Traviata leider großteils auf Sparflamme, doch Maria Bayankina überzeugte dennoch als Violetta.

  Orthodox chant of the 17th century, beautifully sung, and programmed to highlight the telling details that create diversity within the tradition.

Presenting new Russian Orthodox music in a theatrical setting suggests new possibilities for the tradition, most ambitiously in the field of opera.

A Soviet sun shines down on Ratmansky's The Bright Stream at The Bolshoi Theatre in Moscow. From its 2003 première, his Bright Stream became an instant hit with audiences both at home and abroad – and it’s easy to see why.

The beautiful city of St Petersburg is the birthplace of Russian classical ballet and home to some of the most famous dancers in the ballet galaxy, and it is here that Russia’s finest festival of dance takes place annually – Dance Open is now in its 13th year.

The energy exuded from The Eifman Ballet in Rodin was enough to light – and keep burning – the Olympic torch. At the Alexandrinsky Theatre, St Petersburg. 

How times change. Only a few decades ago, sacred music, if it was heard at all in Russia, was presented in a strictly secular concert setting, and even in many cases with the texts altered to reduce their religious significance. Today though, the Orthodox Church is an influential and highly visible player in Russian public life.