En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sonate pour piano et violon no. 3 en ré mineur, Op. 108

Que les voyeuristes impénitents se précipitent au prochain récital que donneront ensemble Denis Matsuev et Julian Rachlin ! Objet de curiosité publique pour certains, soirée tout sauf subtile pour d'autres. A réserver aux fanatiques de "gros son" avant tout.

Ce qui fait de Vengerov l’un des violonistes les plus appréciés de sa génération, c’est la richesse de la palette sonore qu’il parvient à obtenir de son instrument. Retour sur son récital à la Philharmonie.

Œuvres de la maturité, les sonates représentent un sommet de l’écriture piano-violon, tant au niveau de l’équilibre entre les deux instruments que de la richesse motivique fruit d’une inspiration féconde. 

Lundi soir le Victoria Hall s'est un peu endormi dans une errance esthétique peut-être trop appuyée de la part de Renaud Capuçon...  Brahms a perdu son âme en chemin : dommage. 

Renaud Capuçon et Nicholas Angelich se consacrent à l'oeuvre de Johannes Brahms. Lyrisme et délicatesse sont au rendez-vous.

A risk-free, splendid musical feast for a summer festival, magnificently performed in Verbier's church.

Bomsori Kim and Jean-Paul Gasparian prove an ideal coupling of natural musicality and effortless technique in Beethoven, Brahms and Szymanowski.

Little had planned to quit in August, but Covid-19 threw all her concert plans into disarray, but last night took a significant step towards the exit, bidding farewell to London’s Southbank Centre.

The two friends dedicate their recital to “the people we've lost”.

After the Sextet there they played a tender, bittersweet arrangement of Brahms' Lullaby created the day before that sent the audience home looking forward to Franz Schubert in 2020.

An enthralling afternoon on London's Southbank as Lawrence Power and Pavel Kolesnikov perform all Brahms' sonatas for violin and viola. 

A rapt audience witnessed a very special musical event where superficial differences in musical style and personal presentation counted for nothing with musicianship of the highest order.

James Ehnes and Steven Osborne join forces at the Edinburgh Festival.

Those concertgoers who tore themselves away from the beach could watch the glorious sunlight fade to dusk through the Bantry House Library's huge windows.

Maxim Vengerov and Polina Osetinskaya’s marathon of Brahms sonatas showed off the composer at his most lyrical and dramatic. 

Augustin Dumay and Louis Lortie perform three masterpieces of the violin sonata repertoire, redeeming an eccentric performance of Strauss with a thrilling Franck

Vengeron and Papian explored what lies under the shiny surface of late 19th century repertoire

Richard Tognetti (violin) and Polina Leschenko (piano) display an intensely concentrated, yet good-humoured rapport in Sydney. 

A dream matchup of Janine Jansen with Alexander Gavrylyuk spoiled the audience at the Concertgebouw in this must-hear collaboration. Tonight’s programme included sonatas from Brahms, Prokofiev, Poulenc and a sublime rendition of Szymanowski’s Trois Mythes.

Danish violinist Znaider with Kulek delivers a capricious Beethoven sonata no. 2 and zany Shostakovich preludes, while the Brahms sonatas do not fully convince. 

Leonidas Kavakos und Yuja Wang scheinen auf den ersten Blick vielleicht wenig gemeinsam haben, doch schon nach der ersten Brahms-Sonate ist klar: diese beiden Musiker passen perfekt zusammen - und zu Johannes Brahms.

Leonidas Kavakos and Yuja Wang play all three of Brahms' sonatas for violin and piano in one evening, without ever looking at each other. They did not seem to need to.

Leonidas Kavakos und Yuja Wang begeistern mit einer starken, wenngleich nicht ganz unumstrittenen Interpretation der Brahmsschen Violinsonaten.

Considering the sheer wattage of Yo-Yo Ma’s name, it was not his playing alone that stole the show; rather, the magic of this performance existed in the act of collaboration between two artists.

Other than the gigantic Salle des Combins, a semi-permanent white tent seating a couple of thousand, the major venue for the Verbier Festival is the local église, perched higher up the mountains than the main square. Marked by a tall bell-tower shaped like a cross, the hall is prowlike, dark, and claustrophobic, enlivened only by coloured slits of light coming from behind the audience.

‘Schubert’s A minor’ is a prefix that rolls off the tongue of concertgoers everywhere with the comfortable familiarity of a home-cooked meal.

Celebrating the worldwide release of his first orchestral album, Tchaikovsky and Mendelssohn: Violin Concertos, Ray Chen presented a fairly typical selection of classical music: Bach, Brahms, Tchaikovsky and Saint-Saëns. But from the moment Chen took to the stage at (Le) Poisson Rouge, it was clear the evening’s concert was bound to break a few rules.