En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Seoul Arts Center: Concert Hall

Seong-Jin Cho’s premise in Prokofiev is compelling – to reconcile Russian gravitational attack and monumental construction with clarity, colour and contrapuntal legibility.

Yeol Eum Son’s Britten Piano Concerto formed the evening’s centre of gravity, played with lucid line, structural command and sudden fire. In Brahms’ Second Symphony, Sakari Oramo found conviction, proportion and a warmth that felt earned rather than applied.

Ludovic Morlot conducts the Seoul Philharmonic Orchestra in three classics from the Romantic era: Berlioz, Chopin and Schumann. 

Yunchan Lim seldom seeks the spotlight in a reflective, conversational account of Schumann's Piano Concerto, conducted by Myung-whun Chung. 

At the Seoul Arts Center, Jaap van Zweden treats Beethoven’s disputed metronome marks less as provocation than instruction, trading bloom for voltage in a driven Beethoven Ninth Symphony.

Daniel Harding and the Orchestra dell’Accademia Nazionale di Santa Cecilia choose proportion over spectacle as their Asian tour reaches Seoul. 

A tightly focused and cohesive Bruckner Fifth Symphony at the Seoul Arts Center as Christian Thielemann and the Vienna Philharmonic continue their Asian tour in compelling fashion. 

Two contemporary works pave the way for a big Tchaikovsky pairing at the Seoul Arts Center, with Yekwon Sunwoo joining the Hong Kong Philharmonic for the First Piano Concerto. 

The Seoul Philharmonic preview their forthcoming US-tour programme, featuring Bomsori Kim playing Mendelssohn’s Violin Concerto. 

An evening at the Seoul Arts Center in which clarity matters as much as volume and the most telling virtuosity comes from a refusal to grandstand.

After Jan Lisiecki clarifies the architecture of Beethoven's Third Piano Concerto, Renes' Mahler felt like a letter written in the dark. 

From the very first bars of Britten’s Violin Concerto, Augustin Hadelich impresses in Britten's Violin Concerto, yet Jaap van Zweden's Brahms 4 appears misaligned. 

In Yunchan Lim’s hands the score to Rachmaninov's Fourth Piano Concerto emerges as a small revelation, conspicuously succeeding where so many others have floundered. 

Tradition reborn with thrilling clarity: Jakub Hrůša’s Bambergers light up Seoul: Wagner’s shimmering overture, Bomsori Kim’s impassioned Bruch, and a lucid yet explosive Beethoven Seventh. 

By the close of the performance, one sensed that the audience’s exhilaration stemmed less from polished execution and more from a shared immersion in the music’s dramatic arc—elements that lingered as the defining memory of this eventful evening.

At the Seoul Arts Center, the Berlin Radio Symphony Orchestra achieves a luminous balance of historically informed insight and modern orchestral splendour, delivering performances that feel at once deeply rooted and thrillingly alive.

Myung-whun Chung and the KBS Symphony Orchestra tackle Mahler’s monumental Resurrection Symphony at the Seoul Arts Center.