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

Le festival « Les Coups de Cœur à Chantilly » du pianiste Iddo Bar-Shaï célèbre les 80 ans de la célèbre pianiste, avec Evgeny Kissin et Maxim Vengerov en guest stars.

Pendant près de trois heures, le prince des violonistes russes s'est livré à une démonstration de charme et d'humilité sans pareille. On s'incline ! 

La Filarmonica della Scala était invitée à la Philharmonie de Paris pour jouer le Concerto pour orchestre de Bartók sous la direction de Riccardo Chailly, ainsi que le Concerto pour violon de Chostakovitch en compagnie de Maxim Vengerov.

Ce qui fait de Vengerov l’un des violonistes les plus appréciés de sa génération, c’est la richesse de la palette sonore qu’il parvient à obtenir de son instrument. Retour sur son récital à la Philharmonie.

Ce concert de l'Orchestre de Paris est d'une grande inégalité, la qualité de la symphonie de Dvořák rattrapant in extremis les déboires du concerto de Sibelius.

Maxim Vengerov et Roustem Saïtkoulov ont proposé au public genevois un programme qui, tel un diamant exceptionnel, a été serti somptueusement, offrant un style adéquat à chaque pièce, rehaussant l’éclat du tout d’une musicalité impériale. Toute critique du détail, en reviendrait à perdre la vision d’un tout magistral. 

La excelente Franz Schubert Filharmonia dio buena cuenta una vez más de lo especial en su sonoridad y en sus interpretaciones bajo la esmerada dirección de Tomàs Grau.

A fascinating and meticulously planned program of music by Clara and Robert Schumann, Brahms and Prokofiev at Carnegie Hall. 

The joy of Maxim Vengerov and Simon Trpčeski playing together was as palpable in Franck's sonata as it was in Prokofiev's.

Maxim Vengerov and Simon Trpčeski put their consummate musicianship on show and give us Prokofiev and Franck to remember.

Vengerov joined by violinist Rafter and oboist Manning dish up three delightful concerti by Bach in the first half, while in the second half, Vengerov conducts a thoroughly convincing account of Dvořák’s Symphony no. 9

When did three such luminaries last grace the same concert, let alone the same first half?

Ilya Gringolts and Maxim Vengerov gave world-class performances of landmark pieces by Bach and Bartók, with a generous sprinkling of Prokofiev and Wieniawski giving extra sparkle.

Maxim Vengerov and Polina Osetinskaya’s marathon of Brahms sonatas showed off the composer at his most lyrical and dramatic. 

Vengeron and Papian explored what lies under the shiny surface of late 19th century repertoire

A superstar soloist helps the Toronto Symphony Orchestra offer a telling tribute to Czech conductor Karel Ančerl.

After a 34 year hiatus from the Konzerthaus stage, the Toronto Symphony gave a knockout performance that had everything in spades

Vengerov delivers a magical Sibelius Violin Concerto while his conducting skills impress in Tchaikovsky's Symphony 6

One could hardly dream of a better concert to open the season than one featuring Maxim Vengerov as the guest soloist in Johannes Brahms' Violin Concerto in D major.

A free public concert with Orpheus Chamber Orchestra and celebrated friends chosen for the 10th anniversary celebrations of the Colombian festival.

The artistry of Maxim Vengerov is an uncommon phenomenon: it represents a rare amalgamation of repertoire spanning both traditional and modern, of musical interests firmly single-minded at times but broadly versatile elsewhere.

“Never look encouragingly at the brass,” was one of Richard Strauss’ conducting commandments. Yuri Temirkanov took this maxim to heart, barely looking at any members of his St Petersburg Philharmonic during an absorbing account of Shostakovich’sSymphony no. 10 in E minor.

Stately fun and stormy exoticism: Maxim Vengerov appears as soloist and conductor in a programme of Beethoven and Rimsky-Korsakov at the Barbican.

Andrzej Panufnik was paired with Dvořák for this London Symphony Orchestra concert at the Barbican, conducted by Michael Francis and featuring Anne-Sofie Mutter.

The London Symphony Orchestra premières Peter Maxwell Davies' tenth symphony, and Maxim Vengerov plays Britten's Violin Concerto at the Barbican.

There was something for everyone in Maxim Vengerov and Itamar Golan’s recital programme at the Barbican last night. The music of nine different nations was represented in a multicultural extravaganza of shifting horizons, moods and styles.

Maxim Vengerov began his residency with the Oxford Philomusica with a chamber recital accompanied by the orchestra's director Marios Papadopolous. This passionate concert was delivered with panache and a smile.

Maxim Vengerov and the Polish Chamber Orchestra's concert at Symphony Hall, Birmingham, turned out to be a concert of three halves, thanks to the substantial encores of Saint-Saëns.

The Recontres inédites series is what makes the Verbier Festival famous among aficionados. The title translates – roughly – as “Unprecedented Meetings”, and that is certainly what the concerts represent: world-class soloists brought together on minimal but far from non-existent rehearsal time to play chamber music.

Just a few weeks after the announcement that Oxford would be hosting the UK’s first major Stradivari exhibition this June, Maxim Vengerov gave a phenomenal performance on one of the Italian craftsman’s instruments. Performing on the ex-Kreutzer instrument made in 1727, Vengerov’s performance with the Oxford Philomusica was unforgettable.

Four years ago, Maxim Vengerov suffered a shoulder injury that temporarily incapacitated him as a performing violinist. After four years of recuperation and in his one-night-only appearance in Toronto, Mr Vengerov took on a dual identity – as a violin soloist in the Tchaikovsky Violin Concerto and then as a violinist–conductor in Rimsky-Korsakov’s Scheherazade, with the Toronto Symphony Orchestra.