En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sunwook Kim

Virtuose accompli mais manquant de respiration dans Haydn et Schumann en première partie, le pianiste coréen a livré une ultime sonate de Schubert bouleversante après l'entracte.

Dans un concert peu commun qui réunissait les trois derniers concertos pour piano de Beethoven, le pianiste et chef coréen et le COE ont révélé une symbiose rare.

En formation de chambre, les musiciens des Berliner Philharmoniker font admirer leurs qualités solistiques aux côtés d'Edgar Moreau et Sunwook Kim, dans un programme associant Mozart et Brahms.

Intime et sévère dans Schubert, élégant et chantant dans Albéniz, noble et abrupt dans Liszt, Sunwook Kim a livré un intéressant récital avenue Montaigne.

Le jeune pianiste impose une présence faite d'une plénitude pianistique et spirituelle qui confirment ses premiers prix aux Concours Clara-Haskil et de Leeds.

Clarté, continuité de la ligne, absence de pesanteur. Un grand récital 100% Beethoven à la Philharmonie.

Two high-octane Russian favourites and an eight-minute microcosm of musical history give much to enjoy as the Seoul Philharmonic makes its first visit to London for eight years.

Pianist Sunwook Kim returns to the RSNO, while conductor Jonathan Stockhammer builds a coherent triptych out of three highly contrasting pieces.

Sakari Oramo jumps in for a Berlin Phil programme which includes Unsuk Chin's Piano Concerto.   

Sir Mark Elder judges Dvořák’s “New World” Symphony to perfection in a fine concert from Poole. 

A surprise "artist" gatecrashes the Festival's closing concert

The William Tell Overture promises much, Grieg and Tchaikovsky are well played but struggle to escape the routine.

Sir Mark Elder conducts the Hallé in Mussorgsky, Rachmaninov with Sunwook Kim and Rimsky-Korsakov's Scheherazade.

A very exciting evening at Poole’s Lighthouse with the BSO and artist in residence Sunwook Kim playing Rachmaninov’s Third Piano Concerto together for the first time. 

A promising programme of works was overshadowed by some incoherent playing but also moments of promise to stoke excitement for Gardner's forthcoming tenure at the Bergen Philharmonic. 

Mahler’s Blumine, Beethoven’s rarely performed Triple Concerto and Shostakovich’s Fifth Symphony were given a fresh coat of paint by the BSO.

Wednesday night’s Prom saw the Bournemouth Symphony Orchestra and their principal conductor Kirill Karabits give the fourth instalment of the season’s Tchaikovsky symphony cycle with the sunny, confident Third, in D major. As the programme noted, the D major symphony is somewhat hard to place between the folksy, popular appeal of the first two and the high psychological drama of nos. 4–6.

Sir Mark Elder opened The Hallé’s 2012-13 season with two large works whose darker and more introverted aspects were highlighted very effectively. A disappointingly small audience turned out (the hall was perhaps half full) but the music was very much full and energised.

If the craft of the conductor has ever been a mystery to you – for it can certainly be a mystery to the orchestra – there couldn’t have been a finer explanation than this showcase concert.