En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Elisabeth Leonskaja

Dans les trois dernières sonates de Beethoven, la pianiste a livré au public de la grande salle Pierre Boulez un récital rare.

Au fil des concerts, Elisabeth Leonskaja impose son interprétation de Schubert comme une pierre angulaire de notre monde pianistique. Nouvelle démonstration en clôture du festival toulousain.

Premier récital du diptyque schubertien d'Elisabeth Leonskaja à la Philharmonie. Une lecture à la source du texte.

Elisabeth Leonskaja revient à la Philharmonie pour le Concerto n° 4 de Beethoven avec l'Orchestre du Capitole. Sous la direction de Tugan Sokhiev, les musiciens toulousains s'aventurent en terres russes avec Borodine et Moussorgski.

Retour sur le dantesque récital schubertien d'Elisabeth Leonskaja, au Théâtre des Champs-Élysées, ponctué d'œuvres de la Seconde école de Vienne.

Après avoir ouvert le festival Piano aux Jacobins, la « dernière grande dame de l’école soviétique »  retrouvait Tugan Sokhiev pour le lancement de la saison de l’ONCT à la Halle aux Grains.

En cette rentrée musicale toulousaine, l’ONCT fêtait les dix ans de sa première collaboration avec T. Sokhiev devenu, en 2008, le chef de la formation.

Leonskaja ofrece un recital con las tres últimas Sonatas de Beethoven en una lectura reflexiva y equilibrada.

A folk-centred programme delights Berlin's Konzerthaus under the conducting of Joana Mallwitz – with the special participation of soloist Elisabeth Leonskaja.

The contrasts in Brahms' two early piano quartets are highlighted by side by members of the Staatskapelle Streichquartett and Elisabeth Leonskaja.

La Joven Orquesta Nacional de España aborda un complejo programa y demuestra que el futuro de la música está lleno de talento.

Elisabeth Leonskaja protagonizó la velada con el Segundo de Brahms precedida por la Sinfonía mística de Panufnik, la cual sonó intensa y evocadora en el gran espacio del Coliseum.

The final event of the Ragged School Museum Festival saw a programme of Brahms and Shostakovich in the wonderful Victorian museum, tucked away at the heart of the East End.

Leonskaja evidenció una técnica del movimiento más que eficaz para vencer todas las dificultades técnicas; y mostró un amplísimo espectro rítmico y dinámico para individualizar cada variación sin perjudicar a la estructura unitaria de la obra.

Early and late Beethoven in the closing two recitals of Wigmore Hall's Beethoven Festival Weekend. 

A pair of A minor sonatas demonstrate the composer's evolution over his lifetime; the Wanderer Fantasy shows the pianist's mastery of phrasing.

Die Pianistin Elisabeth Leonskaja begleitet das Artemis Quartett bei einem großen Kammermusikabend in München.

The SCO’s strings play as though they had an insight into the composer’s psyche that few could share. 

With combined ages of over 150 years between conductor and soloist, there was no lack of experience on the platform for this Royal Philharmonic Orchestra concert.

The last of the renowned ‘Soviet school’ returns to Sydney to play Mozart, where "every note had its own significance and direction".

Traditional August Bank Holiday weather – steady rain – was reflected in the melancholy programme for this lunchtime Chamber Prom.

An eclectic mix of Debussy, Mozart with the doyenne of the Russian school Elisabeth Leonskaja and the riddle that remains Shostakovich's final symphonic statement.

Un recorrido descarnado entre el Schönberg más evocador y el Schubert febril y doloroso de la Sonata en si bemol mayor

Una Segunda sinfonía de Rachmaninov insuperable corona un espectacular programa que empezó, por todo lo alto, con el Segundo concierto para piano y orquesta de Prokofiev.

Elisabeth Lenoskaja's ability to execute a perfect phrase lights up a fine performance by the Polish Philharmonic Chamber Orchestra.

Much-loved favourites wrapped around an assured early Beethoven piano concerto with Elisabeth Leonskaja.

There are some concerts where everything comes together, where the music is perfectly suited to the performers, and the hall is perfectly suited to their playing style. Last night’s concert at Saanen Church, in which Elisabeth Leonskaja joined Wojciech Rajski and his Polish Philharmonic Chamber Orchestra to play Beethoven’s Piano Concerto no. 4, was just such an occasion.

Anyone looking for an evening of calm, reflective music would find they’d come to the wrong concert. It was rather like being granted a masterclass in how to represent the infinite nuances suggested by the performance direction “fortissimo”.

For a description of Elisabeth Leonskaja’s formidable and eloquent pianism I find myself drawn to the opening bars of Rachmaninov’s G sharp minor Prelude, given in this concert as an encore.

The popularity of mercurial Elisabeth Leonskaja amongst audiences has never been higher, perhaps because she is one of “the last of the great Russian school” (Sean Rafferty), a performer whose heritage links her to one of the greatest, her friend and mentor, Sviatoslav Richter. Her musical outlook is fiercely independent, and not always to everyone’s taste.