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

Au sein du week-end de clôture du festival aixois, deux concerts ont joliment mis à l'honneur la jeune génération de la musique de chambre aux côtés de Gil Shaham et Renaud Capuçon.

Avec son éternel sourire, le violoniste s'est montré particulièrement complice de l'Orchestre National de France dans le Concerto de Beethoven, avant une belle symphonie de Schubert sous la direction de Trevor Pinnock.

Dans un programme Tchaïkovski, Debussy et Ravel, le violoniste Gil Shaham donne son premier concert public depuis le début de la crise sanitaire, tandis que Paavo Järvi retrouve l'orchestre dont il a été directeur musical.

Le violoniste Gil Shaham est l'un des musiciens les plus heureux sur scène, et l'un des violonistes les plus doués du moment. Son interprétation du Concerto de Tchaïkovski avec l'Orchestre de Paris placé sous la direction de Manfred Honeck fera date.

Le coup d’envoi des Sommets Musicaux de Gstaad 2017 est donné avec éclat : un programme Beethoven alléchant et ambitieux, le Concerto pour violon et la Symphonie n° 5, exécuté par des interprètes exceptionnels, Gil Shaham et l’orchestre Les Siècles dirigé par François-Xavier Roth

Le 3 et 4 février 2016, l'Orchestre de Paris accueillait Gil Shaham pour interpréter le Concerto pour violon de Brahms, chef-d'oeuvre par excellence. La complicité du soliste et de l'orchestre a engendré une interprétation absolument magistrale. En revanche, Le Prince de Bois de Bartók était dirigé sans beaucoup d'inspiration par David Zinman.

Gil Shaham triomphe du Concerto pour violon et orchestre, op. 11 de Samuel Barber, faisant presque oublier que l'œuvre de la soirée n'est autre que l'intense Barbe-Bleue de Bartok, porté à des sommets d'intensité par l'Orchestre National de Lyon.

Gil Shaham’s masterful artistry and amber tone illuminate Dvořák’s Violin Concerto, which masterfully fuses German Romanticism with Czech folk traditions.

A conductor-less concert of Violin Concertos and bagatelles fails to show orchestra and soloist off to their full potential.

Erich Korngold and Arnold Schoenberg – Viennese emigrés in Hollywood – formed the unlikely pairing in the Ukrainian conductor's Konzerthaus programme. 

Conductor Emeritus Vladimir Jurowski returns to the London Philharmonic Orchestra, bringing with him some rare jewels such as Paul Hindemith's Violin Concerto. 

The principal guest conductor brings a rough edge to the orchestra's sound in Brahms' First Symphony, with Gil Shaham projecting lyrical elegance in the composer's Violin Concerto.

After a three-years hiatus, the orchestra returns to New York, with violinist Gil Shaham playing Tchaikovsky's Violin Concerto before an assured Prokofiev Fifth Symphony.

Guest Conductor Hannu Lintu makes an auspicious Atlanta Symphony debut conducting Sibelius, Korngold and Higdon. 

Gil Shaham is the outstanding soloist in Saint-Saëns' Third Violin Concerto as a new season gets under way. 

Death of Classical’s presentation of Gil Shaham and The Knights playing a “Pocket Edition” of Beethoven’s Violin Concerto at Green-Wood Cemetery strove for a festive feel, and did admirably at fulfilling that promise

The American violinist has a worthy partner in the ASO under Robert Spano, the opening night featuring a stunning interpretation of the Beethoven Violin Concerto.

From Isolation Rag to Bach, Tanglewood veteran Gil Shaham delights even on video.

Guest conductor Susanna Mälkki also showed her mettle in a fully realized performance of Prokofiev's Fifth Symphony.

When Mariss Jansons was forced to withdraw from his orchestra's tour, the BRSO couldn't have found a better step-in than Yannick Nézet-Séguin.

The Hong Kong Phil and Long Yu crossing the cultural divide in a trio of Slavic works.

Tugan Sokhiev's debut with the New York Philharmonic was not an unqualified success. 

An infectious contemporary work by Sierra sits comfortably with Rachmaninov and Tchaikovsky. 

Gil Shaham and Juraj Valčuha join the San Francisco Symphony for electrifying performances reminding listeners of the true joy of dialogic music-making and the excitement of high-caliber ensemble collaboration.

At the Ravinia Festival, David Zinman conducts the Chicago Symphony Orchestra and the eminent violinist Gil Shaham in music by Prokofiev and Brahms.

Playing in a premier Western venue with violin virtuoso Gil Shaham, the Eastern orchestra seems not quite ready for prime time.

Susanna Mälkki had another memorable outing with the CSO in coloristic works of Debussy and Rimsky-Korsakov along with a Bartók violin concerto commanded by Gil Shaham.

Maestro Tilson Thomas led the San Francisco Symphony in a unique program that fell just short of expectations.

Von dionysisch-wild bis apollinisch-klar: Gil Shaham und das Symphonieorchester des BR unter Yannick Nézet-Séguin zeigen bei Bartók und Mahler überschäumende Musizierfreude und Begeisterung, die ansteckt.

Third time’s a charm? Or is three a crowd? It isn’t often that an orchestra takes up an entire weekend at Carnegie Hall. Could this be too much of a good thing?

It is a wonderful thing to hear the full range and colour of a symphony orchestra used to its full effect during the course of an evening's programme and tonight the BBC Symphony Orchestra under the baton of Finnish conductor Sakari Oramo showed the diversity, versatility and sheer joy which for me really brings the music to life.

A thoroughly enjoyable insight from the LA Phil under the baton of Stéphane Denève on the different styles of Bartók and Rachmaninov. 

It’s a busy month for superstar violinist Gil Shaham, who started February with Erich Korngold’s Violin Concerto and will end it with a new CD release. In between, he is resuming his exploration of Bach’s sonatas and partitas for solo violin with recitals in the United States and Italy.

In a radio speech given by Sir Thomas Beecham to celebrate Jean Sibelius’ 90th birthday in 1955, the conductor praised the Finnish composer’s tenacity in pursuing his personal musical vision – even if that meant, as Beecham sardonically noted, that the music would go “rather over the head of [...] the public and [...] musical press”.

The opening of Henri Dutilleux’s Symphony no. 1, with its distinctive pizzicato opening full of tension and curiosity, opened the concert not with a bang but rather a seductive lure.

There is, nowadays, no one way to play a Beethoven symphony – if indeed there ever was. Just as we today are exposed to the myriad methods of Sir John Eliot Gardiner, Christian Thielemann, Bernard Haitink, and Osmo Vänskä, the supposedly bad old days of the 1950s found space for the very different talents of Wilhelm Furtwängler, Otto Klemperer, Erich Kleiber, and Hermann Scherchen to rub shoulders

The Israel Philharmonic Orchestra knew the difficulties they would face. Accordingly, they kept the proportions of this programme modest out of pragmatism rather than an expectation for encores, as richly deserved as they would have been.