En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | James Ehnes

Marie-Nicole Lemieux and Karina Gauvin star in Mozart concert arias before a very gentle Pastoral Symphony at the Maison symphonique.

Donald Runnicles and the Atlanta Symphony play a charged final symphony of Shostakovich and a compelling Tchaikovsky Violin Concerto with soloist James Ehnes

Guest conductor James Gaffigan celebrated musical Americana in a program of Copland, Barber, Ellington, and Karpman. 

The Orchestra of the Royal Academy of Music and The Julliard School, with Edward Gardner in an impressively ambitious programme, with tragic Britten from James Ehnes, and a remarkable UK premiere from Anna Thorvaldsdottir.

Seattle's 2019 Chamber Music Summer Festival premiered Sebastian Currier's Voyage Out, which uses the piano quintet to reimagine the metaphor of musical journeys, on a program framed by passionate 19th-century chamber compositions.

The Seattle Chamber Music Society presented an ambitious program with a distinguished ensemble of performers.

From the moment Ehnes trilled the G major Op.96 into existence, he and Armstrong achieved the musical transparency that results from using fortepianos with leather hammers and gut strings, and only with great care and commitment when using modern instruments.

James Ehnes was an ideal soloist in Walton's Violin Concerto, well partnered by John Wilson and the BBC Philharmonic, with atmospheric Bax and a powerful Vaughan Williams 4.

John Wilson oversees a glossy, superficial take on early 20th-century works from England and the USA.

La Orquesta Nacional, bajo la batuta de su director asociado Juanjo Mena, interpretó dos sinfonías de Schubert, la Sexta y la Novena, y el Concierto para violín de Britten con la participación del canadiense James Ehnes.

How do violinists devise their recital programmes? The conventional format has been to choose a violin sonata from each musical era, or to focus on a particular composer or national style.

James Ehnes and Steven Osborne join forces at the Edinburgh Festival.

Vladimir Ashkenazy and the Philharmonia explore different sides of Shostakovich in the latest of the Voices of Revolution series.  

A marvellous Saint-Saëns “Organ Symphony” makes great use of the Adelaide Town Hall organ. 

James Ehnes, a violinist of remarkable elegance, was outstanding in Prokofiev's First Concerto infusing richness to the long, introspective melodic lines.

James Ehnes, Steven Osborne and Alban Gerhardt captured the lamentations of Shostakovich's Second Piano Trio before they were joined by clarinettist Jean Johnson for Messiaen's quartet at St John’s Smith Square.

Nicholas Collon and the BBC Philharmonic play two pieces by Stravinsky, Sibelius and Beethoven in a fine concert at Bridgewater Hall.

Ehnes excels in Beethoven, and Gardner draws lovely tone from the RNSO.

A generous evening of heavyweight works with the London Symphony Orchestra under the baton of Fabien Gabel.

In this all-Prokofiev concert James Ehnes was a refined, precise soloist in the Violin Concerto no. 1.

Contrasts abounding in serenades by Mozart and Strauss. 

Beethoven truly celebrated in Sydney, as another symphony cycle progresses. 

The BBC Philharmonic brought us a fascinating programme of intriguingly juxtaposed perspectives from the old world and the new, before a heartfelt return to the European tradition.

Gianandrea Noseda heats the National Symphony Orchestra up for Rachmaninov's Symphony 2. 

Conductor Brett Mitchell also led worthy performances of Dvořák’s The Noon Witch and Bartok’s Concerto for Orchestra, joined by student ensemble, the Kent/Blossom Chamber Orchestra.

The second week of the Seattle Chamber Music Society's 2015 Summer Festival offered up an unusual juxtaposition of instrumental and vocal pieces, with a beautifully somber mood prevailing.

Virtuosic playing from the LSO under the decisive leadership of Marin Alsop enlivened the divergent soundscapes of Bartók, Korngold and Rachmaninov. 

The Oslo Philharmonic, Vasily Petrenko, and violinist James Ehnes give a dazzling performance of Nielsen's Violin Concerto, but fall flat in a strangely brutal performance of Sibelius' Symphony no. 1.

Canadian soloist James Ehnes and guest conductor Andrew Litton gave an unsentimental and appealing performance of an all-English programme.

Inspired by the sight of sixteen swans in flight, the great swinging horn call in the final movement of Sibelius Fifth Symphony is one of the most life-affirming moments in the composer’s output. If this ‘Swan Hymn’ glowed rather than blazed brightly last night, it was the journey there which impressed in the hands of Thomas Søndergård, Principal Conductor of the BBC National Orchestra of Wales.

Violinist James Ehnes and the Vancouver Symphony Orchestra on breathtaking form in an immense, virtuosic programme of Elgar, Respighi, Britten and Berlioz.

Sir Andrew Davis lead the BBC Philharmonic along “The Mancunian Way” and down to Salisbury Plain for Vaughan Williams' Ninth Symphony. 

The violinist James Ehens brings his masterful Bartók back to Seattle in a program conducted by André de Ridder, who makes his Seattle Symphony debut.

At the Salle Pleyel, the Orchestre National d’Île-de-France performed a new piece by Alberto Colla, Mendelssohn’s famous Violin Concerto with James Ehnes, and Brahms’ Second Symphony, all conducted by Danish conductor Thomas Søndergård.

If there were a Nobel Prize for violin, I would nominate James Ehnes. His playing of Britten’s Violin Concerto with the Toronto Symphony was drenched with emotions – pathos, irony, lamentation, sarcasm, tenderness and bliss – displayed and at the same time bounded by the discipline of his virtuosity, that like a diamond, radiated brilliance without attracting attention to itself.

Everyone has their favourite movement in Holst’s Planets suite. Whether it be the percussive ferocity of “Mars, the Bringer of War”, the contrasting tranquillity of “Venus, the Bringer of Peace” or the joviality of “Jupiter”, there is something in The Planets for everyone.

“The name Stradivarius had an air of magic to me.” Virtuoso violinist James Ehnes’ statement manages to capture the air of reverence which underpinned Friday’s Music at Oxford concert. The gala marked the opening of the UK’s first Stradivarius exhibition at Oxford’s Ashmolean Museum, and two violins from the exhibition were on temporary release for the evening.

It isn’t every day that you bump into a world-class virtuoso violinist. I bumped into one, James Ehnes as it happens, and in the literal rather than figurative sense, only minutes before he was to star in the CBSO’s concert celebrating the Ballets Russes in 1913 – a programme that brought together the delightful tranquillity of Mussorgsky’s prelude to Khovanshchina, Sibelius’ Violin Concerto in D

You can’t say Valery Gergiev doesn’t get around. Four concerts in New York over the last week and a half of October, two with the London Symphony Orchestra, one with the World Orchestra for Peace, and another with the Mariinsky Theatre Orchestra might seem a little like overkill, especially for a conductor as notable for hot and cold performances as for his workload.

The Shang Emperor of China had inscribed on his washbasin the admonition “Make it New”.Toronto Symphony Orchestra’s 2012/13 season made it new by including in its first-night program a work by a living composer, Harmonielehre by the American John Adams.

Violin virtuoso James Ehnes gave a concert of works by Béla Bartók on May 28th at the Montreal Chamber Music Festival. Just the day before, Ehnes had performed an equally challenging program of completely different repertoire - works by Ravel (the duo, the trio, and the quartet). Both performances were of the highest quality, and showcased a performer with unparalleled command of his instrument.

There's more to music than timing, and there's more to timing than music. Timing – as it affects programming – can be a powerful thing. Context amplifies compositions; anniversaries add resonance; personal connections contribute to emotional effect – such as in this concert, RSNO conductor Stéphane Denève's au revoir to Edinburgh.

Choosing a programme for a recital is as important and nearly as difficult as all the practice that happens next. The programme must be the perfect length, provide a contrast of musical styles and yet be linked in some way so as not to be arbitrary. No-one could accuse violinist James Ehnes and pianist Andrew Armstrong of poor programming; however they certainly didn’t make it easy for themselves.

Bournemouth Symphony Orchestra began what promised to be an excellent programme with a simple Romantic work from Richard Strauss, Traumerei am Kamin (“Dreaming by the Fireside”).

Noseda is a persuasive champion of Dallapiccola's orchestral works. Two CDs [with the BBC PO] on Chandos, and talk of a third.So no surprise to find the early Partita programmed in this prom. It's a work of many colours, beginning with the dark low notes and steady rhythms of a solemn processional, which moves slowly into the sunny upland, guided by Yuri Torchinsky's limpid violin.