En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Maria João Pires

L'orchestre néerlandais a livré une démonstration dans une Huitième Symphonie d’Antonín Dvořák d'anthologie, après un concert Concerto « Jeunehomme » de Mozart particulièrement éloquent sous les doigts de Maria João Pires.

Au milieu du déluge qui s'abattait sur le Gstaad Menuhin Festival, le baryton aux plus de deux cents Voyage d'hiver et sa partenaire ont livré une interprétation légendaire, totale, du chef-d'œuvre de Schubert.

L'orchestre des jeunes de Salvador de Bahia, ville tant africaine qu'elle est brésilienne, fait sauter la Philharmonie avec l'énergie de musique brésilienne et de Beethoven.

Remplaçant au pied levé sa consœur qui avait fait une mauvaise chute dans la rue, Mao Fujita a repris à l'Opéra de Riga son programme du récital de la veille.

De la très grande musique ce soir, portée d’un côté par Maria João Pires dans Mozart, et par le quatuor Artemis dans Beethoven et Schumann de l’autre. Des trempes et des caractères différents pour une intransigeance commune de la forme et une science des équilibres partagée.

Le 27ème concerto pour piano, en sandwich entre deux mastards symphoniques. Pires dont la justesse de ton n'a d'égal que la discrétion s'est jointe à son partenaire de longue date, Riccardo Chailly, pour une demi-heure de très grande musique.

Maria João Pires gives a soporific, lacklustre performance of Beethoven’s Third Piano Concerto, while the Festival Strings Lucerne transform Honegger’s Pastorale d'été into a riveting ambient moodscape and bring pristine clarity to the Pastoral Symphony. 

The semi-retired pianist offered a generous program of Schubert and Debussy that showcased her technical prowess and interpretive gifts.

La Mozarteumorchester Salzburg se prestó brillantemente a un concertante estilo para acompañar a Maria João Pires en el Tercer concierto de Beethoven e interpretó una excelente Sinfonía Júpiter de Mozart, todo bajo la dirección de Trevor Pinnock en un concierto para el recuerdo.

La singularidad de la música de los compositores polacos Penderecki y Panufnik contrastó profundamente con la música de Mozart en las manos de la concienzuda Maria João Pires.

Sensitive, nuanced Bruckner from Blomstedt and a Mozartian treat from Maria João Pires.

A collaborative performance of Mozart's Sonata for two pianos was not broadcast, but Pires stanched any disappoint by offering refined interpretations of Schubert.

A lovely recital of Schubert, Debussy and Beethoven by the Portuguese pianist in Aix’s Théâtre du Jeu de Paume.

La joven aun execelente formación Orquesta da Camera y la pianista Maria João Pires ofrecieron un concierto excelente lleno de bellos y comedidos momentos.

El concierto de clausura de la Filarmónica presentaba un programa tan contundente como antológico y tampoco eran para menos los huéspedes encargados de tal tarea: Maria João Pires al piano y Daniel Harding dirigiendo la Orchestre de Paris. Frei aber froh: libre pero feliz. Este era el acrónimo del tema principal de la segunda obra en programa, pero que resume bien el ambiente y las sensaciones que se vivieron.

Maria João Pires gestaltete Mozart mit Subtilität und feiner Agogik, schien sich aber trotzdem nicht optimal entfalten zu können. Dafür war Haitink in Bruckners Vierter ganz in seinem Element.

Pires es de esos músicos excepcionales que obran el milagro de hacer que la música nazca directamente del interior del propio artista y no de su instrumento.

To celebrate a popular thinker's influence across the breadth of the arts in a single concert is clearly no small ambition. This programme sagged under the weight of its disparate components, but the individual works shone brilliantly.

Maria João Pires showcases a young pianist who steals the show.

Seit ein paar Tagen ist es in aller Munde – die Hamburger Elbphilharmonie, derzeit noch eine der prominentesten Baustellen der Republik, wird am 11. und 12. Januar 2017 definitiv eröffnet.

Two composers at the opposite end of their careers form an interesting pairing but one that doesn't quite add up to a convincing whole. 

Delicate Mozart from Maria João Pires makes up for an aggressive Bruckner 4 from the LSO and Daniel Harding. 

The Leipzig Gewandhaus Orchestra began its latest London residency with an impressive concert of Strauss and Mozart.

As musicians, conductor Bernard Haitink and pianist Maria João Pires have certain qualities in common – they both display a serenity, exquisite control and a dedicated yet no-nonsense attitude to performance.

A traditional programme of overture, concerto and symphony delivered classically, with a soloist on radiant form.

Teacher and pupil took the stage at London’s Wigmore Hall in a joint concert by pianists Maria João Pires and Pavel Kolesnikov, which revealed the pianists' individual and combined talents in works by Schubert, Beethoven and Schumann.

Belleza a cuatro manos: equilibrio perfecto entre técnica y sensibilidad al servicio de un diálogo intergeneracional

Maria João Pires plays Beethoven Piano Concerto No.2 with the Vienna Symphony Orchestra and Adám Fischer. Haydn and Mozart top up a Viennese evening.

It is always a risk and a pleasure to programme some of the most well known works in the classical repertoire, and Italy’s Orchestra Mozart, joined by young Venezuelan conductor Diego Matheuz and pianist Maria João Pires, had some of the favourites on show in the Queen Elizabeth Hall on Thursday evening.They opened the concert with the effervescent overture to Mozart’s Marriage of Figaro.

It was only through a litany of roster changes that the Orchestra Mozart’s London debut at the Royal Festival Hall took place at all. Beginning with Claudio Abbado and Martha Argerich down to play Haydn and Mozart, a dual cancellation meant Bernard Haitink and Maria João Pires had to step in at what may as well have been the last minute.

It’s unfair but tempting to pigeonhole pianists: the intense Mitsuko Uchida; the powerful Martha Argerich; the stately Alicia de Larrocha; and the vivacious Maria João Pires.

The London Symphony Orchestra presented the themes of the first movement of Beethoven’s Second Piano Concerto very nicely indeed, benefiting from the clarity, moderation and wisdom with which a lifetime of experience has endowed their conductor for this concert.

The brass, winds and percussion of the LSO opened the concert with a powerful, dramatic rendition of Purcell’s Music for the funeral of Queen Mary, arranged to sharpen the effect for modern ears by Steven Stucky.

The Philadelphia Orchestra was at Carnegie Hall this weekend, led by Chief Conductor Charles Dutoit and joined by pianist Maria João Pires, to perform works by Glinka, Chopin, and Ravel. After this season, American audiences will presumably be seeing less of Mr.

Nothing quite made sense in this programme, but the confusion was impressive nonetheless. The opening, the UK première of Anders Hillborg's 'Cold Heat', was a prime example of post-minimalism: an eclectic assortment of styles, juxtaposed with consideration, but without much sense of unity for the work itself.

There is a remarkable story about Portugese pianist Maria João Pires and a Mozart concerto, which she was due to perform with Riccardo Chailly in Amsterdam. The orchestra played the opening bars of the D minor concerto; however, this was not the one Pires was expecting to play. Miraculously, Pires continued to give an assured performance, revealing her extraordinary musical capacity.

When this deeply thoughtful account of Bruckner’s 4th Symphony came to its end I was reminded of a line from Bob Dylan’s song "It ain’t dark yet, (but it’s getting there)" on his album Time Out of Mind, where he sings, "I know it looks like I’m moving, but I’m standing still.