En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Concerto pour violoncelle no. 2 en sol majeur, Op. 126

Entre une pièce de Clara Iannotta, un concerto de Chostakovitch et une symphonie de Schubert, le concert s'est avéré hétéroclite et parfois déroutant mais la qualité des interprètes l'a emporté.

Le violoncelliste norvégien fait corps avec le Deuxième Concerto de Chostakovitch. À la tête de la phalange toulousaine, Petr Popelka marque également les esprits dans Dvořák et Prokofiev.

L'Orchestre National du Capitole de Toulouse et son directeur musical, Tugan Sokhiev, étaient invités à la Philharmonie. Belle création de Qigang Chen, réjouissante Symphonie n° 5 de Chostakovitch.

A la tête de l'Orchestre Philharmonique de Radio France et avec la violoncelliste Sol Gabetta, Mikko Franck nous offre un superbe concert autour de Debussy, Chostakovitch et Sibélius.

Thomas Adès wird als Creative Chair eingeführt, Sol Gabetta als Fokus-Künstlerin. Und Paavo Järvi rührt bei Rachmaninows Zweiter Symphonie mit der großen Kelle an. 

Alpesh Chauhan conducts the BBC Philharmonic in a striking programme of 20th- and 21st-century works including the UK premiere of Anna Clyne's The Moment. 

Truls Mørk joins Tarmo Peltokoski and the Rotterdam Phil for a deeply emotional reading of Shostakovich’s Cello Concerto no. 2. 

Rachmaninov’s First Symphony is brought vividly to life in a new performing edition by John Wilson and the Sinfonia of London in an electrifying concert at The Glasshouse.  

The Lyon orchestra show their rapport with their former Music Director with an exuberant Copland symphony and an introspective Shostakovich concerto

Celebrating its centenary the orchestra and its chief conductor proposed a programme consisting of works (mostly) composed in the last 100 years.

Sheku Kanneh-Mason shows emotional depth in Shostakovich's Second Cello Concerto, while the lightness of the RSNO Junior Chorus creates a heavenward-bound Fauré Requiem. 

The OSM's Music Director-designate emphasises the Brahmsian aspects of Dvořák's splendid Seventh Symphony. 

Alban Gerhardt wurde bei Schostakowitschs Zweitem Cellokonzert vom WDR Sinfonieorchester unter Jukka-Pekka Saraste feinsinnig begleitet.

La Orquesta Nacional de España con David Afkham al frente acometió un desafiante programa que incluyó el encargo a Río-Pareja, Los incensiarios y un accidentado concierto de violonchelo de Shostakovich a cargo de la solista Alisa Weilerstein.

Alisa Weilerstein delivered an amazingly raw performance of Shostakovich’s Second Cello Concerto, whereas Ilan Volkov and the CBSO’s renditions of Simon Holt and Brahms (reimagined by Schoenberg) proved alienating and overblown.

A pair of Soviet Cold War classics featured in Pietari Inkinen's Budapest debut at Müpa. 

La dirección de Andrey Boreyko y la sensibilidad de Alban Gerhardt hicieron con el programa que presentaba la Euskadiko Orkestra Sinfonikoa lo que los complementos hacen con el estilo que un sastre imprime a sus creaciones.

Mit Prokofjews siebter Sinfonie präsentierte Nézet-Séguin ein Werk voll heiterer Melodien, walzerselig, fast mit Swing im zweiten Satz, rasant, virtuos, dynamisch gut differenziert.

Impressively, Principal Conductor Nézet-Séguin matched his predecessor, Valery Gergiev, with such high quality Russian repertoire. 

Alisa Weilerstein and the BBC Scottish Symphony Orchestra under Rafael Payare rendered a thrilling performance of Shostakovich’s Second Cello Concerto in Leeds.

Sir Mark Elder conducted the Hallé in Shostakovich's Cello Concerto no. 2, with soloist Alisa Weilerstein, and Mahler's Fifth Symphony. 

The Sydney Symphony Orchestra presented a versatile and truly international menu to its audience last week in a thrice-programmed concert titled “Heavenly Schubert” although it was Shostakovich who proved the strongest draw. 

Britten’s Death in Venice suite, arranged by Steuart Bedford, is a continuous piece of music taken from the opera. As such, it is an extremely scenic work and even though it has its moments, I could not help but long for the actual opera rather than these excerpts (thankfully it will be performed by ENO later this year).

In an era in which orchestras are supposed to have lost their distinctive 20th-century sounds, the Gewandhaus Orchestra Leipzig is one that retains its characteristic dark hue, with fascinating wind timbres that simply refuse to blend into a homogenised whole. And yet there is refinement and virtuosity to match the world’s best orchestras.

Arguably the highest-profile visiting orchestra of the season, Riccardo Chailly brought his Leipzig orchestra to Birmingham for a duo of 20th-century Russian works. The large audience was not disappointed, Rachmaninov’s second symphony in particular shining in a magnificent performance.

Tonight’s concert at the Concertgebouw started with the Romance from Shostakovich’s film score The Gadfly, as a tribute to the conductor Yakov Kreizberg, who sadly passed away last March. A popular piece with violinists, the Romance is a beautifully melodic work, perhaps one of Shostakovich’s most popular ones.