En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Concerto pour piano no. 1 en ut mineur pour piano, trompette et orchestre à cordes, Op.35

Après une Symphonie « Jupiter » admirable et un concerto de Chostakovitch subtil, le clou de cette soirée de fête aura été la création du Concert pour orchestre d'Éric Tanguy.

Mettre ensemble, faire avancer la musique, modeler les phrases, les nuances, donner les départs sans jamais s'interposer ni entre le public et les musiciens ni entre eux et la musique : voilà la leçon de direction donnée par Neeme Jarvi.

Entre la gouaille chostakovitchienne et l’exubérance des batucadas, entre la sensualité brésilienne et le fatum d’un Tchaïkovski, il n’y avait qu’un pas, franchi par l’orchestre Neojiba et son chef Ricardo Castro, portés par la figure de Martha Argerich.

David Guerrier, magistral au Bâtiment des Forces Motrices de Genève, a suscité l'enthousiasme grâce à son interprétation du concerto de Chostakovitch. Malheureusement, la structure du programme n'a pas été en faveur de Haydn.

Works by Boulanger and Shostakovich pay off handsomely before Rimsky-Korsakov’s Scheherazade, shaped with dynamic control and visceral energy, crowns a vividly played concert.

Two works by Shostakovich sandwiching Rhapsody in Blue made for an exhilerating concert from the Australian Chamber Orchestra in Melbourne

Energetic commitment from the ACO at the Barbican, with precision and edge from Alexander Melnikov and Jeroen Berwaerts in an evening of darkness and light.

Seong-Jin Cho und Giullaume Jehl zeigen einen perfekten Schostakowitsch, doch manchmal sollte man der Kühnheit der Komponisten mehr vertrauen...

In a subscription performance supposed to yield no surprises, Igor Levit makes his own mark in Shostakovich. 

Soaring choral music precedes the arrival of Martha Argerich for a daredevil account of Shostakovich's First Piano Concerto with RPhO Principal Trumpet, Alex Elia. 

Rouvali's Sibelius completely misses the mark, but his Shostakovich is thrilling and vibrant.

Dima Slobodeniouk dirige un desafiante programa soviético al frente de la Sinfónica de Galicia para el que contó con el pianista Barry Douglas y el trompetista Jeroen Berwaert.

The rising American conductor led works by Dvořák and Tchaikovsky, along with a fine performance of Shostakovich’s Piano Concerto no. 1 with Behzod Abduraimov and Michael Sachs as soloists.

Not one, but two piano concertos in the Malmö Live Konsertsalen, with a Finnish filling in Patrik Ringborg's Shostakovich sandwich.

The principal flute provided several of the delights coming from the wind section, still one of the glories of this orchestra.

The Estonian conductor takes evident delight in conducting mercurial Ravel and Shostakovich; Mozart is harder to engage with in an empty Royal Albert Hall.

Yuja Wang embodies the flash, brilliance and wry, irreverent humor of Shostakovich’s First Piano Concerto.

Philip Cobb’s bluesy inflections turned the dear old Barbican Hall into the coolest nightspot in the capital; they might as well have lowered the lights and served cocktails.

The musical riches provided notwithstanding, much was desired in the dazzling orchestral showpieces of the evening.

La Orquesta Nacional de España se ha rendido a la batuta de Semyon Bychkov, un gran especialista en Tchaikovsky, para abordar la Sinfonía núm. 1, precedida por el Concierto para piano y trompeta de Shostakovich, para el que contaron con dos grandes solistas, Manuel Blanco y Bertrand Chamayou.

En el Concierto núm. 1 de Shostakovich, Horacio Lavandera y John Aigi dieron una lección de electrizante virtuosismo

Two of today’s brightest soloists take on Mozart and Hummel concertos, then come together with the Zurich Chamber Orchestra for Shostakovich.  

 The San Francisco Symphony wound up its Asian tour in Tokyo with a program (Sheng, Shostakovich, Mahler) and soloist (pianist Yuja Wang) well calculated to generate strong audience response.

Yuja Wang’s blazing Shostakovich First Piano Concerto and MTT’s stellar Firebird blended into a cohesive narrative at Davies Hall that showed us how successful performances can coincide with successful programming. 

Fazıl Say, Gábor Boldoczki, Willi Zimmermann und das ZKO beschließen die Saison 2015/16 mit kontrastreichem Programm.

Kees Bakels and the Orchestra of Opera North perform Gershwin, Shostakovich, Ravel and Stravinsky at Leeds Town Hall.

Pianist Daniil Trifonov and orchestra principal trumpet Michael Sachs solo in a rarely played Shostakovich concerto. The concert also featured a winning performance of Rachmaninov's Second Symphony.

Ahead of its US tour with Michael Tilson Thomas, the London Symphony Orchestra flexed its muscles in a display of orchestral strength on home turf in the Barbican. 

The Royal Concertgebouw's programme consisted of a lot of energy and exciting humour, from Rossini to Shostakovich and Prokofiev. 

An exciting programme, although not without flaws, kicked off the Oslo Philharmonic's new season.

Continuing their Shostakovich cycle, the Mariinsky Orchestra and Valery Gergiev brought the Fourth and Ninth Symphonies to the Salle Pleyel, as well as the Concerto for Piano and Trumpet, with pianist Daniil Trifonov.

Saturday saw the BBC Symphony Orchestra open their 2013/14 season with an evening of firsts. Not only was this Sakari Oramo’s first Barbican season concert as Chief Conductor, but the programme placed a première by leading “spectral” composer Tristan Murail alongside Shostakovich’s First Piano Concerto and Mahler’s First Symphony.

There is more common than meets the eye to the three works on the programme by the St Louis Symphony Orchestra in the Powell Hall on Saturday night. The rhythmic diversity in each challenges the unity of the orchestra to the extreme.

In what was apparently the first appearance from an Irish orchestra at the Proms since the 1970s, pianist/conductor Barry Douglas and the strings of his Camerata Ireland brought a programme to Cadogan Hall which examined Benjamin Britten in the context of some of his contemporaries and friends.

A feast of Russian chamber music was what was on offer for the Australian Chamber Orchestra’s latest concert. Featuring music by Prokofiev, Shostakovich and Tchaikovsky in a program entitled Russian Visions, the ACO with guest soloists Steven Osborne and David Elton provided an evening of music which was visionary, electrifying and intense in equal measures.

New Year’s concerts have never been that appealing to me: I am not a great lover of Viennese waltzes and that is what most of them consist of. But fortunately this year the Holland Symfonia had a New Years concert with a twist: Russian fireworks.

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

In the UK, chamber orchestras these days have a slightly old-fashioned image: groups such as the English Chamber Orchestra, the Academy of St Martin in the Fields, and the London Mozart Players – who played a vital part in our musical life of the 1970s and 80s – have recently been struggling to maintain their profiles.

There was much to enjoy in this evening's concert by the LSO, who were performing this programme for the second time this week. The two piano concertos of Shostakovich were suitably contrasted - though neither takes itself too seriously, the Second is lighter in character, with a tender slow movement to rival the popular concertos of Rachmaninov.

Shostakovich's first and second piano concertos were coupled with Tchaikovsky's third symphony in the exciting continuation of the LSO's complete Tchaikovsky cycle, under their principal conductor, Valery Gergiev.The concerto for trumpet, piano, and strings (Op. 35) was written in 1933, with Shostakovich playing the piano part at its première in the same year.