En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jean-Yves Thibaudet

Quelle alchimie pour une première rencontre ! Après un concerto de Liszt interprété par un Jean-Yves Thibaudet au sommet, la Shéhérazade de Lionel Bringuier et du BNO fut une merveille.

Aux Sommets musicaux de Gstaad, Renaud et Gautier Capuçon étaient accompagnés de Jean-Yves Thibaudet pour deux chefs-d'œuvre du trio avec piano. 

La Philharmonie de Paris rassemble Jean-Yves Thibaudet, Lisa Batiashvili et Gautier Capuçon pour trois trios légendaires : le Trio n° 1 de Chostakovitch, celui de Ravel et le Trio n° 2 de Mendelssohn.

Difficile de reprocher à cette entrée en matière une quelconque prévisibilité. Loin des passages obligés, du « grand » répertoire et des pages viennoises auxquelles s’attelle plus volontiers le Philharmonique en ce mouvementé début de saison, l’ONF se restreint avec ce concert d’ouverture à la musique française.

L'Orchestre Philharmonique de Radio France joue sous la baguette de Mikko Franck la Symphonie « du nouveau monde » de Dvořák, précédée du Concerto en sol de Ravel avec Jean-Yves Thibaudet au piano. Une soirée assez décevante dans l’ensemble, malgré quelques très beaux moments et un orchestre absolument excellent.

Daniel Harding übernimmt für den erkrankten Mariss Jansons und beeindruckt mit einem bildgewaltigen Programm mit Werken von Bartok, Ravel und Berlioz.

An orchestral program on the theme of ecstasy, religious and profane, included a piano concerto by James MacMillan along with works by Jennifer Higdon, Debussy, and Scriabin.

Bei seiner Abschiedstournee mit dem Orchestre symphonique de Montréal zeigt Nagano nuancenreiche Interpretationen.

El director californiano Kent Nagano y el pianista francés Jean-Yves Thibaudet se dan cita en l’Auditori barcelonés para llevar a cabo una de las propuestas más esperadas de esta temporada

Mälkki triumphs in the subtleties of Saariaho, stumbles in the ecstasies of Messiaen. 

Ravel, Mendelssohn and youthful Shostakovich form a varied programme for this starry trio. 

Das außergewöhnliche Ensemble bringt natürliche Spielfreude mit einer unaufdringlich kammermusikalischen Spielweise auf die Bühne.

Bernstein's Slava! and Age of Anxiety aren't the best examples of his concert music, but Marin Alsop and the BSO made the best possible case for them. 

Den Münchner Philharmonikern gelingt unter der Leitung von Juraj Valčuha ein römisch-spanisches Klangspektakel mit Werken von Debussy und Respighi.

Jean-Yves Thibaudet and Cynthia Millar joined Franz Welser-Möst for a jaw-dropping performance of Messiaen’s Turangalîla-Symphonie.

At Carnegie Hall Jean-Yves Thibaudet successfully brought forward the mercurial character of Bernstein's music, while Andris Nelsons highlighted details in Shostakovich. 

The Philadelphia Orchestra gives us convincing renditions of Bernstein, Schumann and Strauss.

Jean-Yves Thibaudet was the soloist for a stylish account of Ravel’s Piano Concerto for the left hand, and the complete music for Daphnis et Chloé filled out the program.

Maurice Ravel opened his 1928 tour of the United States conducting a series of concerts with the Boston Symphony featuring his own music.

With Andris Nelsons about to debut as Kapellmeister at the Leipzig Gewandhaus, a collaboration with his Boston Symphony was inaugurated in style. 

Variations of tension, energy and contrast with Long Yu and the Hong Kong Phil.

Guest conductor Charles Dutoit returned to Los Angeles for a program devoted to one of the composers he is most closely associated with. 

Der rein ungarische Konzertabend hatte mit einer engagierten Interpretation des Konzerts für Orchester von Zoltán Kodály begonnen und endete mit dem absoluten Highlight des Abends, dem großartigen Konzert für Orchester von Béla Bartók.

Twenty-first century Stockholm or fin de siècle Paris? Works by Ravel, Debussy and Schmitt take the audience back to the times of the French avant-garde.

El director francés condujo eficientemente a la Orquesta Nacional hacia un paroxismo de exuberancia orquestal.

Dudamel erreichte in seiner Interpretation ein rundes, harmonisches, "natürliches" Klangbild: er achtete auf musikalischen Fluss, nahm das Publikum mit dieser Musik gefangen. Der Schluss geriet zu einer hinreißenden, ergreifenden Apotheose der Liebe.

Jean-Yves Thibaudet was a stylish soloist in Grieg’s Piano Concerto. Guest conductor Jahja Ling also led precise, elegant performances of Stravinsky’s Four Norwegian Moods.

Ludovic Morlot led the SSO in a première by Anna Clyne plus familiar repertoire made fresh, spotlighting a delectable interpretation from Jean-Yves Thibaudet in Gershwin's piano concerto. 

Known as the great “cavalier of the piano”, Jean-Yves Thibaudet recently treated the Zurich’s Tonhalle audience to Edward Grieg's stunning Piano Concerto. 

Picker's succesfully enigmatic premiere of his Opera without Words

Schnelle Tempi, perlende Klänge sowie pathetische Gefühlsausbrüche hatten Andris Nelsons, Jean-Yves Thibaudet und das Concertgebouw Orchestra in Essen im Gepäck. 

Andris Nelsons returned to his Shostakovich cycle with an easy-going Sixth Symphony, followed by an exhilarating Suite for Variety Orchestra. Jean-Yves Thibaudet delighted audiences with Gershwin’s Piano Concerto in F.

Melody and rhythm in abundance, with compelling performances from soloist and orchestra alike.

In a gilt-edged programme, Iván Fischer and Jean-Yves Thibaudet honoured the audience of the Great Hall with a splendid initiation of the New Year.

A diverse and occasionally challenging program opens the season in Detroit.

This final concert of a three-week festival of French music featured works by Debussy, Ravel, and Messiaen. In a clever bit of programming, the number of performers on stage grew from one flautist on the first piece to a symphony of over 100 for the last.

Besides Liszt's Piano Concerto no. 2, there was a finely wrought Beethoven Seventh and a colorful work by Italian composer Luca Francesconi. 

In a packed Usher Hall, Royal Concertgebouw Orchestra still and thrill by turns with transcendental, colourful Ravel and innovative, cinematic young Shostakovich.

Bernard Haitink and the Chamber Orhcestra of Europe perform Ravel and Mozart in a display of astonishing orchestral playing.

The adjective in the title of Britten’s 1934 Simple Symphony could refer to the ease with which listeners can spot each movement’s two contrasting themes. Attentive, lively use of tempo, dynamics, phrasing, colour enabled Peter Oundjian and the RSNO to make the most of young Britten’s diversity within impressive compositional unity.

For the 40th anniversary season opening gala of the Hong Kong Philharmonic, it was fitting that Music Director Jaap van Zweden should have chosen Bright Sheng’s Shanghai Overture, which was originally commissioned by the composer’s alma mater, the Shanghai Conservatory, for its own 80th anniversary in 2007.

German bombast. French joie de vivre. Russian soul-searching. You could hardly ask for more contrast in the principal themes of last night’s Prom, with Philippe Jordan conducting the Gustav Mahler Youth Orchestra, from the military pomp of Wagner’s overture to Rienzi to the fairground whirl of Ravel’s Piano Concerto in G major.

Sometimes the creations of humans, no matter how artistic, can’t compete with the drama of nature. Such was the case this past Saturday evening at Blossom Music Center, the summer home of the Cleveland Orchestra (about a 45-minute drive south of Cleveland) in their first weekend of concerts for the season.

It was the golden jubilee of Saint-Säens as a concert pianist, and in celebration he performed his crowning glory, the Piano Concerto no. 5 in F, “Egyptian”, which he composed while on tour in Luxor, incorporating exotic Middle Eastern melodies and rhythms.

Poor Ravel. He was expelled from the Conservatoire; he was consistently rejected for the Prix de Rome; he never married. Along with his contemporaries Stravinsky, Debussy and Satie, he made enormous strides in 20th-century music, but is unfortunately remembered best (when at all) for the plodding fifteen minutes of his 1928 composition Boléro.

The Vienna Philharmonic, whose annual New Year’s Day performances of Johann Strauss are broadcast to some 50 million viewers worldwide, apparently aren’t the only ones giving themselves a pass on creative programming around the holidays. The New York Philharmonic and guest conductor Manfred Honeck eased gently into 2013 this weekend with an evening of audience favorites.

"Freedom fries": no two words could better summarize the crassness that characterized the early years of the American 21st century.In the wake of disagreement over the Iraq War, American xenophobes sought to eradicate from these shores any vestige of the Tricolour.

“Cultural melting-pot” is a term so often used to describe Hong Kong that it has become a cliché. On Saturday, the Hong Kong Philharmonic Orchestra provided a living example of how the city relishes a mixture of cultural influences in a programme of works by French composers incorporating clear foreign influences, predominantly from Spain.

The programme notes suggested that Glinka was the father of Russian nationalism. Perhaps this is the case, but his overture to his second opera, Ruslan and Ludmilla, is undeniably an Italianate work, surely influenced by his meetings with Donizetti and Bellini in 1830.