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

Le directeur musical de la formation parisienne donne aux œuvres de Debussy et Ravel des contrastes abrupts et une vivacité explosive, au détriment parfois de leur onirisme et de leur délicatesse.

Sous la direction de Kent Nagano et en compagnie de Marie-Nicole Lemieux, l'Orchestre Symphonique de Montréal enchaîne les chefs-d'œuvre symphoniques à la Philharmonie, de Jeux au Sacre du printemps.

Un dialogue entre peinture et musique autour des avant-gardes russees et françaises avec les pianistes Tamara Stefanovitch et Lenad Lecic, à l'occasion de l'exposition Icônes de l'art moderne, la collection Chtchoukine à la fondation Louis Vuitton.

Programme de musiques de danse interprété par le New York Philharmonic : Stravinsky, Debussy et Bartók pour un dimanche après-midi parfait ! 

Michael Tilson Thomas couples Mahler and Debussy at The Cleveland Orchestra, close contemporaries but worlds apart stylistically. Leif Ove Andsnes illuminates the latter’s sole work for piano and orchestra.

Two unusual French orchestral works bring a unity to a Philharmonic Hall programme mixing the familiar and the unfamiliar. 

François-Xavier Roth conducts the Bavarian Radio Symphony Orchestra with pianist Kirill Gerstein in a thrillingly played trio of Debussy, Schoenberg and Stravinsky.

Jurowski treibt in der Rolle des Hoffmann’schen Kapellmeistersdie Musiker des RCO mit teuflischem Spaß zu immer mehr virtuosem Schabernack an.

Bei seiner Abschiedstournee mit dem Orchestre symphonique de Montréal zeigt Nagano nuancenreiche Interpretationen.

El director californiano Kent Nagano y el pianista francés Jean-Yves Thibaudet se dan cita en l’Auditori barcelonés para llevar a cabo una de las propuestas más esperadas de esta temporada

Zum 100-jährigen Bestehen des OSR bietet Renaud Capuçon zwischen Ballettmusik von Debussy und Richard Strauss mit Sibelius einen intensiven, anrührenden Höhepunkt.

A century on from its birth, one of Switzerland’s leading orchestras finally makes its Proms debut in a scintillating programme of French and Russian music.

François-Xavier Roth está consiguiendo con Les Siècles crear un sonido propio a partir de un culto preciosista a los matices y a la exactitud interpretativa. Su gesto dinámico y marcado encuentra en la formación un fiel reflejo que convierte cada obra en singular y sugerente.

A shimmering account of Debussy's Jeux was followed by a delectable reading of Poulenc's Concerto for two pianos. Conductor Ward delivered a convincing performance of Prokofiev's Fifth Symphony.

Oh, but the entire London Symphony Orchestra en fête is a dazzling aural spectacle – how on earth did we all remain in our seats when summoned by such Bacchic frenzy?

A generous programme that brought out much felicitous detail from the LSO in Debussy’s Jeux and plenty of sparkle from Simon Trpčeski in Bartók, but it was Mahler that took game, set and match. 

Games of various types pirouetted in and out of Les Siècles' Gallic programme last night, from Debussy's play of the waves in La Mer to the shenanigans of a distinctly adult game of tennis in his ballet Jeux.

Der neue Chefdirigent Daniele Gatti führte das Concertgebouw-Orchester und eine feurige Sol Gabetta durch das Pariser Konzertprogramm.

The Orchestre Symphonique de Montréal and Kent Nagano give terrific performances of Debussy, Prokofiev and Stravinsky as they embark on their American tour. 

Two landmark scores from the repertory of the Ballets Russes sandwiched Thursday night’s concert at Symphony Hall: Debussy’s Jeux and Stravinsky’s Petrushka (in its original 1913 version).

NYC Ballet's fashion-forward program of five new works helps to keep things interesting.

French pianists François-Fréderic Guy and Jean-Efflam Bavouzet returned to London’s Wigmore Hall to present a programme of three 20th century orchestral scores transcribed for two pianos. 

Doug Fitch masterminds a splendidly inventive multimedia rendering of Petrushka, ably supported by Alan Gilbert and the NY Phil.

The four-part concert, conducted by Franz Welser-Möst, emphasized Boulez's relationship with the orchestra as composer, teacher, conductor, and friend, with four musical works to illustrate those characteristics.

Pierre Boulez builds a deceptively brilliant program featuring works by Stravinsky, Debussy, and Ravel, and the Chicago Symphony Orchestra follows through on its execution.

It isn’t every day that you bump into a world-class virtuoso violinist. I bumped into one, James Ehnes as it happens, and in the literal rather than figurative sense, only minutes before he was to star in the CBSO’s concert celebrating the Ballets Russes in 1913 – a programme that brought together the delightful tranquillity of Mussorgsky’s prelude to Khovanshchina, Sibelius’ Violin Concerto in D

How very fitting that the Berlin Philharmonic, an orchestra that claims to be made up of 128 soloists, should start Thursday’s concert and their European tour with perhaps one of the most soloistic orchestral pieces ever written: Ligeti’s Atmosphères.

It was, truly, music from another world. Opening the concert with György Ligeti's 1961 Atmosphères, the Berliner Philharmoniker started with the gentlest of wafting string tones with clustered woodwind sounding almost organ-like, whereupon layer after layer piled in, an infinite variety of orchestral textures shifting and swirling.

In a neat piece of programming, Monday’s Wigmore Hall lunchtime concert brought together two French master-pianists to play two French masterpieces for the ballet, Debussy’s Jeux and Stravinsky’s Rite of Spring, both transcribed for two pianos.The works are, in fact, old friends, and were both introduced to the world by the Ballets Russes, in 1913.

There are some concerts where you are confronted with the same emotions from start to finish, concerts with pieces that have a similar feel and similar impact throughout. Tonight’s concert was not one of those: it varied from funny (Jeux), to serene (Prélude), to confusing (Concerto for piano and winds).

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

A rare sunny afternoon in Cardiff Bay was the ideal setting for this afternoon’s concert: an all-French programme in the intimate surroundings of the Wales Millennium Centre’s Hoddinott Hall.Having long been overshadowed by the Rite of Spring (which received its premiere two weeks later), Debussy’s ballet Jeux has been unjustly neglected.