En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Alexander Melnikov

Retour sur une approche radicale – qui passe certainement mieux au disque que dans une salle qui ne lui est pas taillée sur mesure – dans laquelle on aura pu apprécier l'excellence des interprètes.

Dans le cadre de leur actualité discographique, Jean-Guihen Queyras et Alexander Melnikov donnaient l'intégrale des oeuvres pour violoncelle et piano de Beethoven lors de deux récitals consécutifs à Londres.

Energetic commitment from the ACO at the Barbican, with precision and edge from Alexander Melnikov and Jeroen Berwaerts in an evening of darkness and light.

Ponomarchuk and the LPO raise the spirits in Felix Mendelssohn's Scottish Symphony after an underwhelming first half at the Brighton Dome. 

Russian pianist Alexander Melnikov is joined on stage at the Philharmonie by Alexander Rudin, Nadezhda Pavlova and Olga Pashchenko to give the audience a taste of Rachmaninov's chamber repertoire. 

Three concertos and a symphony made for an unusual but generous programme, but Les Siècles illustrate that versatility can come with mixed blessings. 

McFaddens ergreifend schöne Melodieführung und Melnikovs schimmernde Klavierfarben machten den Konzertabend zu einem unvergesslichen Hörerlebnis.

Ein Hammerklavier zeigt seine ganze Bandbreite inmitten eines spritzig-espritvollen Orchesters.

Strauss’ Also sprach Zarathustra fills the Royal Albert Hall, while Schumann’s piano concerto is followed by MacMillan’s masterpiece The Confession of Isobel Gowdie. 

Die Niederländische Komponistin Mayke Nas erfindet neue Klänge, um unsere heutige Zeit mit musikalischen Mitteln zu beschreiben.

Alexander Melnikov and Andreas Staier's sensitive and insightful performances, combined with the fortepiano's freshness and added edge, make for a special evening of Schubert.

Three great and contrasting works from different centuries, in superlative performances; a surprising programme with a real touch of alchemy.

Ob tänzelnder Rausch, titanischer Trotz oder Tempo: bei MusicAeternas aktuellen Tour waren Expressionserfahrungen und Überraschungen garantiert.

Teodor Currentzis and his musicAeterna players from Siberia together with Alexander Melnikov venture into familiar musical territory.

There was depth and intensity from Steven Isserlis and Alexander Melnikov in this intriguing programme of Russian cello sonatas from old hands and new brooms.

An intriguing concert performed on three pianos from different eras which revealed how composers responded to the piano technology available to them at the time.

Powerfully committed and expert singing from the Latvian Radio Choir under Sigvards Kļava, paired with thoughtful and calm playing from Alexander Melnikov in two highly contrasting works by Shostakovich.

Alexander Melnikov's recital, surveying both books of Préludes, was highly individual, the Russian pianist twisting and pulling Debussy's scores as a child plays with plasticine. 

Works by Robert Schumann, Salvatore Sciarrino and Franz Schubert showed the members of a dynamic configuration to be as finely tuned to one another as each was to their instrument.

Alexander Melnikov astonishes in Beethoven's 'Emperor' Concerto. 

Alexander Melnikov summons up the full range of pianistic emotions in Chopin's 24 Preludes, followed by exploration of texture and dynamic contrast in Scriabin.

Joined by soloist Alexander Melnikov, Seattle Symphony and Ludovic Morlot find the right key for a programme of works classical and neoclassical. 

Despite the stormy turbulence in much of Beethoven's writing, Jean-Guihen Queyras and Alexander Melnikov allowed the sunlight to flood in, illuminating these spirited scores. 

An evening entirely devoted to Schubert's four-hand piano music, with a glorious tandem of Andreas Staier and Alexander Melnikov.

Faust and Melnikov's concert of Beethoven sonatas at Koerner Hall in Toronto swelled with passion tempered by gentleness.

Surprisingly, this was the Warsaw Philharmonic’s first visit to the Proms, invited as part of this year’s focus on Polish music. About time too, one might say, and particularly so with it being both Lutosławski’s centenary year (and almost Panufnik’s too, shy by a year), and this the farewell concert of outgoing Artistic Director of twelve years, Antoni Wit.

An extraordinary event took place on Tuesday evening in Saint-Paul-de Joliette, Quebec, a pleasant little farming community located about an hour’s drive northeast of Montreal.

Given reports that an earlier instalment of this Jerusalem Quartet tour had been disrupted by protesters, it's pleasing to be able to write that there were no such disturbances here. It's a good thing too, because nothing should overshadow the exquisite music-making of this Israeli quartet, joined here by Russian pianist Alexander Melnikov. Melnikov and the quartet blended very well.

It’s quite an achievement when a pianist can captivate an audience for a normal performance, let alone for one that lasts two and a half hours. For this reason pianists do not often tackle all of Shostakovich’s Twenty-Four Preludes and Fugues in one evening, but this is precisely what Alexander Melnikov did at the Muziekgebouw in Amsterdam.