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

Dans un programme allant de MacMillan à Chostakovitch en passant par Mozart, le chef russe, le pianiste français et l'orchestre francilien ont ébloui le public de l'Espace Carpeaux.

Vassily Sinaisky, Natalya Romaniw and the City of Birmingham Symphony Orchestra take a crude, casual approach to music by Tchaikovsky and Beethoven.

Vassily Sinaisky tomó la batuta al frente de la Orquesta Sinfónica de Galicia en un programa de compositores rusos en el que Chaikovski brilló especialmente.

Vassily Sinaisky leads the BBC Philharmonic through the murky worlds of Myaskovsky, Rimsky-Korsakov and Szymaowski

The St Petersburg Philharmonic unleash all the unstoppable forces of Russian excess in a programme of Tchaikovsky and Prokofiev at Sage Gateshead.

This afternoon Vassily Sinaisky was in charge of the CBSO for a matinee performance which began with Wagner’s overture, ended with a Sibelius symphony and had siphoned between them an ever-popular piano concerto by Mozart.

Vassily Sinaisky returns to Birmingham, partnered by a Macedonian pianist.

Behzod Abduraimov's playing marks the highlight of the CBSO's latest matinee programme. 

The Hong Kong Philharmonic's concert this weekend featured two long works by composers who were contemporaries and who struck up a friendship late in their career.

Vassily Sinaisky returned to the BBC Philharmonic to conclude their 2016-17 season with Mahler’s monumental second symphony, with all the might of the CBSO Chorus thrown in for the final movement.

Strong, stirring performances from Sinaisky and the Bournemouth players offered few opportunities for reflection in a night of Beethoven and Elgar. 

Un premier concert hautement satisfaisant de la série du LPO consacrée à Rachmaninov, juxtaposant deux monuments du répertoire présentés de façon très différente ; délicatesse du toucher dans le concerto et grandes effusions dans la symphonie.

Vassily Sinaisky and the Hong Kong Philharmonic more at home in Tchaikovsky's focussed lightness than in Mahler's expansive intensity. 

Having resoundingly declared not two weeks ago that I had never seen the CBSO perform so well, I am forced to admit that the orchestra have once again outdone themselves.

At first sight, last night’s London Philharmonic Orchestra concert at the Royal Festival Hall was a typical piece of programming: a well known, relatively undemanding opener, a big symphony to close, and a première of a newly written work sandwiched carefully in between.

A sunny Sunday afternoon at Colston Hall marked the return of the London Philharmonic Orchestra to Bristol after over a decade away. The orchestra played alongside Argentinian cellist Sol Gabetta for a moving performance of Edward Elgar’s Cello Concerto in E minor. This was accompanied on either side by Sergei Prokofiev’s Symphony no. 1 and Jean Sibelius’ Symphony no. 2.

Blossom Music Center, summer home of The Cleveland Orchestra, is about 25 miles south of Cleveland, just to the north of Akron, in a beautiful wooded area nestled next to the Cuyahoga Valley National Park. Opening in 1968, Blossom presents a wide variety of concerts, both orchestral and popular, and theatrical events each summer.

When it comes to summertime concerts, visitors to the Amsterdam Concertgebouw are often lucky, and this year is no different: the Robeco Zomerconcerten offer a diverse and exciting program that was kicked off by the Netherlands Radio Philharmonic, Vassily Sinaisky and Pekka Kuusisto with music by Elgar, Sibelius and Tchaikovksy.

Iolanta and Francesca da Rimini work particularly well as a double bill because both works share the theme of lovers who find themselves at the mercy of possessive forces. Iolanta's domineering father ultimately yields in Tchaikovsky's opera, but in Rachmaninov's the deceitful Lanceotto is not so accommodating.