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

En deux soirées, le festival de musique de chambre deauvillais a montré ce qui fait sa singularité : mélange des générations d'artistes, richesse des répertoires, excellence de l'interprétation.

Pour son baptême du feu avec la formation berlinoise, le jeune pianiste et chef russe a marqué les esprits, de même que Sabine Devieilhe dans un programme 100% mozartien.

L’intimiste et insouciant duo en sol majeur se changeant peu à un en un grave sol mineur : voilà une bien belle idée pour débuter un concert de duo, trio et quatuor.

Créé par Angelin Preljocaj sur la musique de Schubert, Winterreise met à l'honneur les danseurs du Ballet Preljocaj au Théâtre des Champs-Elysées, suscitant beaucoup d'émotions.

Organisée par le programme claviers de la Fondation Royaumont, une Nuit en deux temps a consacré l'art du clavecin de l'excellent Philippe Grisvard avant que Le Petit Trianon ne déçoive dans L’Offrande musicale.

Brautigam bridged Wilms and Beethoven at the fortepiano, while Farrenc’s First Symphony added symphonic breadth, all shaped by the assured playing of the Kölner Akademie under Michael Alexander Willens.

Ein nicht alltägliches Programm, ein origineller Interpretationsansatz und verschwenderische Zugaben begeistern das Publikum in der Tonhalle Zürich.

Melbourne-born soprano Sioghan Stagg returns for a one night stand with Kristian Bezuidenhout and the Freiburg Baroque Orchestra as part of their Australian tour.

Yago Mahúgo interpretó en el Festival de Granada una magnífica versión de la obra de Haydn en la version para fortepiano.

Schiff takes the long view in Mendelssohn's unfashionable masterpiece. 

Series of a composer's relatively neglected symphonies, or other genre, face one key test. Do the works emerge with greater stature than before?

The first of three concerts in a Mendelssohn cycle sees Sir András Schiff and the Orchestra of the Age of Enlightenment tackle the composer's First and Fourth Symphonies, preceded by the Piano Concerto no. 1.

Kristian Bezuidenhout joins the ACO for a piecemeal programme leading to a complete performance of Beethoven's Emperor Concerto. 

Teodor Currentzis presenta una versión del Réquiem de Mozart abrumadora, casi histriónica, y sin embargo execlente por su capacidad de entresacar el dramatismo más genuino sin renunciar a la espiritualidad.

Three concertos and a symphony made for an unusual but generous programme, but Les Siècles illustrate that versatility can come with mixed blessings. 

Nicht alles glitzerte in der Aufführung so sehr wie die Dörkens an den Hammerklavieren bei Hermann Max' Bach in Brahms-Manier.

After decades as a period instrument revolutionary, the 87-year old conductor bows out with “Dr Haydn's London Academy”, an entertaining recreation of concert-going in the 1790s.

György Vashegyi and the period instrument Orfeo Orchestra impress in an all-Mozart programme in Budapest. 

The soloists turn out to be the perfect couple, while the camerawork covers the action like it was a soccer match.

Ein Hammerklavier zeigt seine ganze Bandbreite inmitten eines spritzig-espritvollen Orchesters.

Trotz Makel führte die Beethovennacht in eine leuchtende Hoffnung, die den guten Willen anerkennt, Neugehörtes und den herausragenden Solisten Tobias Koch würdigt.

Trio (samt Zimmermannscher Unterstützung) und Quartett schlossen beinahe nahtlos an die gebannte Bewunderung des Vorabends an.

Schreiber, Cohen, Bezuidenhout und das Chiaroscuro Quartet brillieren mit Beethovens kammermusikalischen Schenkelklopfern und rücken sein Bild fulminant zurecht.

Bei Bayer Kultur kam durch Werner Ehrhardt eine interessante Ausgrabung zur Aufführung, bürgernah und gefällig, allerdings diesmal nicht so zündend und sorgsam.

Richard Egarr conducts a pair of Haydn's London Symphonies and turns soloist in a piano concerto by Dussek.

Kristian Bezuidenhouts Fortepiano-Spiel und Leitung des Zürcher Kammerorchesters sind faszinierend und meisterhaft.

Dangling and turning like shards of a giant overhead chandelier in Don Giovanni’s banquet hall, this is an evocative multimedia production that tantalizes the senses while shining new light on Mozart's genius. 

Jennifer France and Nicholas Lester are a compelling double act in Rossini’s sparkling comedy La scala di seta from Scottish Opera in Concert.

An evening at the Wigmore Hall with the fabulous Freiburg Baroque Orchestra and fortepiano star Kristian Bezuidenhout in the keyboard concertos of CPE Bach and Mozart. What could go wrong? 

Mark Padmore and Kristian Bezuidenhout conclude their trilogy of Schubert song cycles at Lincoln Center's White Light Festival with a brave and profoundly moving account of Winterreise.

Jos van Immerseel und Anima Eterna zeichnen ein reichhaltiges Programm mit viel Farbenpracht und Transparenz.

Solist, Orchester und Dirigent präsentierten sich auf dieser musikalischen Ausfahrt als eingespieltes Team.

A perfect opera for students? Young singers and a stylish production of Le nozze di Figaro strike the balance between serious and comic.

Perhaps the best jokers keep the straightest faces. For much of this evening at Wigmore Hall, the body language of the Freiburg Baroque Orchestra portrayed serious musicians going about their serious business. 

In the first half of the 19th century, the piano was still very much a developing instrument, and the composers were often pushing its limits both mechanically and sonically. 

This Southbank Centre concert of five of Carl Philipp Emanuel Bach's symphonies, alongside his Concerto in E flat for Harpsichord and Fortepiano showed just how much of a revolutionary this oft-overlooked composer was. The OAE were conducted by Rebecca Miller.

On Saturday evening, the Amsterdam Sinfonietta with soloist Ronald Brautigam presented a splendidly varied programme including pieces by Webern, Mozart and Bach.The Sinfonietta began their programme with a thrilling adaptation of Webern’s Langsamer Satz, an early neo-Romantic piece originally written for string quartet.

The story of Beethoven's Diabelli Variations is well known. The composer and publisher Anton Diabelli wanted to promote his new firm, and chose to do so by inviting fifty composers of varying fame to write a variation on his own waltz theme. Beethoven was, of course, the dominant figure in Vienna at the end of the 1810s, and his variation was to be the highlight.