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

Sous la direction d'Iván Fischer et avec la complicité de l'altiste Tabea Zimmermann, l'orchestre hongrois a livré un concert mémorable, alliant intelligence de la programmation et excellence de l'interprétation.

Tabea Zimmermann aura offert au Victoria Hall la création d’un concerto du genevois Michael Jarrell de toute beauté, ainsi qu’un Debussy ourlé de mille couleurs sous la direction d’un Pascal Rophé inspiré. On aura regretté un Stravinski un peu en deçà et décousu qui aura certainement fait les frais de la préparation de la création.

Lorenzo Viotti leads the orchestra through a Zemlinsky Seejungfrau of fantastical proportions that is nothing short of magical, a stunning testament to a composer whose genius we are only just beginning to fully appreciate.

The Uzbek conductor shows that he's a force to be reckoned with, revealing unimaginable amounts of detail in Stravinsky's score. Jan Lisiecki gives a carefully weighted account of Mozart.

The Swiss conductor returns to the Accademia Nazionale di Santa Cecilia, presenting a triptych of pieces by Schumann, Debussy and Zemlinsky inspired by the season of renewal.

In a patchwork assembly of German Romantic and French impressionistic works, the chief interest in the Budapest Festival Orchestra's latest programme was the appearance of star violist Tabea Zimmermann in pieces by Schumann and Kurtág.

The Hungarian conductor is a late replacement for a satisfying mixed programme in which pianist Anna Vinnitskaya makes a blistering debut. 

The anticipation of an all-French program with Morlot was almost too delicious to contemplate.

With concerts and recitals imaginatively programmed, this second weekend in the CBSO's Debussy Festival was a model of how to make classical music accessible to the widest possible audience.

Impressive Ravel from Benedetto Lupo, with pleasing Debussy and Delius, and a strong performance of Stravinsky’s The Rite of Spring from Juanjo Mena and the LPO.

Paris in the springtime: cold winds, driving rain and even a flurry of snow. Tonight, courtesy of Debussy’s Printemps, something a little more seasonal raised the temperature.

A fascinating sneak preview of Pascal Dusapin's new opera Penthesilea forms the centrepiece of a fine performance by the Orchestre National des Pays de la Loire.

If only every orchestral concert were as thoughtfully programmed as the Saint Louis Symphony’s last Saturday. David Robertson led his orchestra in Debussy’s Printemps, an ingratiating early work; the Carnegie Hall premiere of Quatre Instants by Kaija Saariaho with the irrepressible soprano Karita Mattila; and the full-length version of Stravinsky’s Firebird.

You could tell that the audience had high hopes for the evening by the packed-out pre-concert talk. The lion's share of this was devoted to a conversation between William Chandler (associate leader of the Royal Scottish National Orchestra) and a very relaxed Steven Osborne, in which they discussed the programme's two piano concertos - and the relatively rare phenomenon of playing two concertos in