En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | LSO St Lukes

In a day of music among friends, superstar pianist Seong-Jin Cho displays his mettle in two demanding programmes of chamber music.

Michael Tilson Thomas is an old friend of the LSO and his precise and expressive presence on the podium produced fine musical results all round. 

Rattle leads the London Symphony Orchestra on a journey to his adoptive country, without so much as a lateral flow test to hold them up.

Celebration and infectious joy in Bennett and Gershwin, with silky textures and delicate precision in Ravel from John Wilson and the LSO.

The soprano seemed to be duetting with players as much as conducting them in Knoxville: Summer of 1915.

Ligeti's Concert Românesc gets a well characterised reading, but Gardiner's Bartók and Haydn come off less well at LSO St Luke's.

One of those performances when the sheer physical beauty of the instruments and the sounds they were making became the organic nature of the music itself.

A programme of great contrasts as the first concert is streamed since it was announced that Sir Simon Rattle will leave the LSO in 2023. 

Purity and clarity are hallmarks of Zimerman’s playing and there was an almost aristocratic composure to his phrasing in these splendid performances. 

Birmingham’s finest brought along her own selections to replace François-Xavier Roth's announced programme in this performance at LSO St Luke's.

An early evening concert of Haydn and Beethoven with a light heart proved to be a tonic in this dark November lockdown. 

Travel restrictions prevented both the concert’s marquee names from appearing, but their stand-ins stamped their personalities on an immensely attractive (and unchanged) programme. 

A rare outing for Lili Boulanger's D'un matin de printemps lay at the dewy centre of this spring–summer seasonal programme.  

A vibrant evening of dance and drama from the London Symphony Orchestra in music by Bartók, Strauss, and Hannah Kendall.

The Aurora Orchestra defies tradition and turns Britten’s ghostly Turn of the Screw into a kind of a dramatic ‘installation’

The English String Orchestra present works inspired by nature, colour and life by four contemporary composers.

The title for this Barbican event certainly threw up some interesting questions. Having failed to attend a riotous dinner party that was characterised by one attendee as “a scream and an outrage”, Nico Muhly set about curating a series of concerts under this title. However, no screams or outrages occurred this weekend.

The voices of Trio Mediaeval take you by surprise. Essentially, they take French, English and Norwegian polyphony and give it an electronically amplified, spaced-out twist. Much of Norway’s early musical history is unknown, the largely Christian folk tradition passed down orally rather than in writing, although monasteries from the 12th century onwards played a large role.

The UBS Soundscapes: Eclectica concert at LSO St. Luke's on the 12th October, billed as a celebration of Steve Reich's 75th birthday, was indeed a celebration, and also a tribute. The performance, by a chamber group of string, percussion and keyboard players from the London Symphony Orchestra, was infused with warm affection for the music.

With their appetite for musical diversity and youthful enthusiasm, the six-year-old Aurora Orchestra and their principal conductor, Nicholas Collon, have grand ambitions. With ‘When Doves Cry’ they did not disappoint, showing both their exceptional aptitude for showcasing contemporary music and a promising ability to inject freshness into seminal classical works.

Love may be a familiar feeling, but the passion Aurora Orchestra unleashed at LSO St Luke’s was enough to leave audiences wild with desire. Exploring the darkest undertones of love—anguish, jealousy, remorse and regret—Friday night’s programme, Jealous Guy, was woven together by tango music interspersed with tragic love stories from across musical history.

For the final concert in LSO St. Luke’s Chopin 2010 series, Benjamin Grosvenor’s programme was framed by the first two Scherzos, with the lengthy Fourth Scherzo forming the centrepiece of the recital. A current BBC Radio 3 New Generation Artist, at eighteen Grosvenor can no longer be classed as a child prodigy, yet, regardless of age, his is still a remarkable achievement.