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

À la tête de son Orchestre de chambre de Paris, le chef et pianiste dirige un concert 100% Mendelssohn éblouissant, qui rend justice au génie du compositeur.

L'Orchestre de chambre de Paris et Lars Vogt font une rentrée endiablée au Théâtre des Champs Elysées, avec un florilège de jeunes solistes parmi lesquels brillent Timothy Ridout et Marina Chiche.

Le Festival international de piano de La Roque d'Anthéron a ouvert son édition 2021 avec un programme 100% Beethoven, où Vadym Kholodenko remplaçait au pied levé Nicholas Angelich.

Parfaitement accompagnés par Lars Vogt et l'Orchestre de chambre de Paris, le père et le fils interprètent une très belle anthologie schubertienne dans un spectacle plus obscur que cohérent.

Au TCE, Lars Vogt dirige son Orchestre de chambre de Paris dans une Symphonie n° 2 de Brahms délicatement chambriste, après un brillant Concerto pour violon de Dvořak par Christian Tetzlaff.

Démonstration que l'opposition habituelle entre soliste et chef peut se muer en une complicité sidérante avec l'orchestre. 

Quelle idée de venir présenter à Paris programme de telle envergure, dans une réalisation si défaillante sur le plan technique ! Une performance brouillonne, hagarde et décousue, qui remet en question le vedettariat mondial du pianiste.

L’Orchestre Philharmonique de Radio France propose un cycle Beethoven/Berg dirigé par Daniel Harding, entouré de quatre solistes de renom. La soirée du 9 janvier réunissait trois œuvres très belles mais difficiles : une performance honorable sans être exceptionnelle.

Mit einem spannenden Programm gibt Karina Canellakis ein glanzvolles Debüt in der Alten Oper Frankfurt mit dem hr-Sinfonieorchester.

An all-Schumann programme at the Philharmonie de Paris, pairing the Second Symphony with his popular Piano Concerto. 

Nine symphonies, five orchestras, two days: an immersive weekend as part of the Barbican's Beethoven 250 coverage featuring some of the UK's finest orchestras. 

Royal Northern Sinfonia and Lars Vogt take us on a joyful dance through central Europe in the company of Brahms, Beethoven, Mendelssohn and Dvořák.

Opening their season with an all-Russian programme, Royal Northern Sinfonia ventured beyond the standard chamber orchestra repertoire, with patchy results.

An excellent choice of programming, with Royal Northern Sinfonia and Lars Vogt performing Handel and Brahms, but disappointing in its execution. 

A gloriously romantic performance by Lars Vogt and Royal Northern Sinfonia of Brahms' First Piano Concerto, complemented by Beethoven and Schumann.

Lars Vogt and Royal Northern Sinfonia deliver Beethoven's Symphony no. 9 with swaggering self-confidence, and heroic chorus singing.

Lars Vogt, Royal Nothern Sinfonia and Chorus and a strong quartet of soloists bring the angelic tidings of peace and goodwill in Bach’s Christmas Oratorio.

Lars Vogt takes to the stage of Hall One at Sage Gateshead for some impromptu keyboard practice.

Ian Bostridge and Lars Vogt bring their recital tour to Sage Gateshead, where they bring bold physicality to their interpretations of songs by Schubert and Beethoven. 

The ever consummate conductor delivers a trio of stylistically contrasting works by Haydn, Beethoven and Nielsen with a single trait in common: obdurate perfectionism.

Passion and intensity in a recital of Brahms' chamber music in Lucerne.

Lars Vogt and Royal Northern Sinfonia end their explorations of Mozart and Sibelius with the composers' final works.

Im Wiener Konzerthaus zeigte sich der nunmehr 92-Jährige mit überschäumender Frische auf den Spuren von Gluck, Mozart und Beethoven.

Die Wiener Symphoniker unter Paavo Järvi überzeugen mit Tüür, Mozart und Strauss.

An all-Beethoven concert by Markus Stenz and the Baltimore Symphony Orchestra provided an opportunity to hear familiar, not-so-familiar and downright rare repertoire from the master's pen.

From weather-beaten Scottish rocks to the Land of a Thousand Lakes, the CBSO is magnificent in a nature-themed programme.

The third movement waltz was a particular high point for sheer fun. Tchaikovsky's implied sinister undertones slipped under the radar.

A mixed programme thrills, launching the season with a bang

The best Brahms chamber music our reviewer's ever heard from Royal Northern Sinfonia, plus a Sibelius quartet that needs to be be heard more.

Royal Northern Sinfonia and their Music Director designate Lars Vogt brought the idyllic side of Romanticism to Sage Gateshead last night, revelling in luxurious textures and melodies that sang of happy, fulfilled love for family.

Lars Vogt, Yannick Nézet-Séguin, and the London Philharmonic Orchestra bring freshness to a programme of German classics. 

Lars Vogt came blazing into his new job as Music Director of Royal Northern Sinfonia, creating an instant impression with his luxuriously expressive Beethoven and Brahms.

30 August to 14 September 2013 marked the second year of the mozart@augsburg festival, held both in and around the city.

Two figures occupied Usher Hall’s large stage. More accurately, two performers, as there was also a very focused page turner, removing played pages as though they were explosives. Seated at the piano was Lars Vogt, last seen in this hall during Edinburgh Festival 2012 in a joyous performance of Lutosławski’s Piano Concerto.

After a very successful week on location in Cleveland’s west side Gordon Square neighborhood playing concerts in bars, coffee shops, school classrooms and a large Roman Catholic church, The Cleveland Orchestra returned to their Severance Hall home for the last weekend of concerts of the 2012/13 subscription season.

Mark-Anthony Turnage and the London Symphony Orchestra, conducted by Daniel Harding, have thoroughly dominated this week in the Barbican Hall. Firstly with a high-profile performance of the composer’s trumpet concerto From the Wreckage on Tuesday, and then the first performance of his new, purely orchestral piece Speranza on the Thursday.

Andris Nelsons marked the second instalment in the Birmingham Beethoven cycle with two works of the earliest years of the 19th century, featuring a solid account of the Eroica and a superb performance of the Triple Concerto.The Triple Concerto is a strange work.

The items in the Cleveland Orchestra's second programme shared one feature; unusual form with regard to the number of movements. Having played the first four movements of Smetana's Má Vlast the previous evening, here they presented the remaining two.

Lars Vogt’s unorthodox pianism knocks at Glenn Gould’s door without ever daring to fully enter his outlandish realm, and since there can only be one Glenn Gould that is perhaps just as well. In addition to the counterintuitive articulation and other Gouldian stylings his performances offer masterful soft playing and, when convincingly maintained, a taut sense of drama.

German-born pianist Lars Vogt has an established reputation as a concerto soloist, a recitalist, and a committed chamber musician, enjoying partnerships with esteemed musicians such as Christian Tetzlaff and Thomas Quasthoff. He is involved in many festivals, including one in a power station (with the power turned off) in the German town of Heimbach.

All three works in this programme were written by composers in mid-life - late 30s, early 40s - and all worked within the Austro-German tradition, but one would be surprised to find they had much else in common. The performances this evening did, however, manage to forge an unexpected congruence between them.Pintscher’s ‘orchestral study’ towards Osiris set the agenda.

I'm a strong advocate of performers actually telling their audience a bit about the music and why they play it the way they do, and this is particularly important when a performer has a distinct view on what a piece of music means and reflects this in his interpretation.

The internet makes it simple for the mind's ear to travel. A click to this page on Bachtrack and you're right there: in the Dvorak Hall of the Rudolfinum in Prague, listening to the Czech Philharmonic. Hearing that orchestra play away from home, in the Royal Albert Hall, one loses something - a lot of the instrumental detail inevitably drifts off into the hall.