En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Concerto pour piano no. 2 en sol majeur, Sz 95

Evgeny Kissin dans le deuxième concerto pour piano de Bartók, avec Lawrence Foster à la tête de l'Orchestre national de France. Un engagement et une déterminatin à toute épreuve.

Juan Floristán resolvió con virtuosismo y bravura el exigente segundo concierto de Bartók enmarcado por un estreno de Sánchez-Verdú y una contrastada sinfonía de Franck.

Die Klaviervirtuosin und der junge finnische Dirigentin werden den hohen Erwartungen des Abends leider nicht gerecht.

New to Seattle, guest conductor Dalia Stasevska wowed audience and orchestra alike in her superb direction of a very varied program.

The ASO and Maestro Spano have started out the orchestra’s 75th anniversary year with hot-blooded performances that matched Atlanta's weather. 

Yefim Bronfman was the powerful soloist in Bartók’s Second Piano Concerto. Welser-Möst’s expressionistic reading of Prokofiev’s Third Symphony evoked nightmares of tormented souls.

Jewgeni Kissin zeigte hohe Fingerfertigkeit bei Bartóks Klavierkonzert, während das NDR Elbphilharmonie Orchester unter Thomas Hengelbrock hervorragende Streicherklänge bot.

Prom 70, the last concert for the BBC Symphony Orchestra prior to the Last Night festivities, featured three talented Americans: composer Missy Mazzoli, pianist Jeremy Denk and conductor Karina Canellakis.

Sir Simon Rattle steers the LSO through a sequence of Haydn’s most forward-looking pieces while Denis Kozhukhin, as a late stand-in, is immense in Bartók’s Second Piano Concerto.

Ludovic Morlot and Seattle Symphony wrap up their two-year Beethoven cycle with a new perspective on the Fifth, by way of Bohuslav Martinů and a thrilling Bartók Second Piano Concerto featuring Bertrand Chamayou.

Jeremy Denk gave an athletic performance of Bartók's formidable second piano concerto, complemented by a Dvořák overture and two major works of Janáček.

As Valery Gergiev's tenure comes to an end, the LSO presented a concert of the repertoire he is most a home in, to thrilling results. 

After an exhausting multiple rehearsal week the Cincinnati Symphony Orchestra kicked off its current season with a rousing reading of Beethoven’s Fidelio Overture.

Another low-energy second half let down a strong first in the San Francisans' second appearance at the Proms under Michael Tilson Thomas.

Béla Bartók was a composer of extremes. An avid collector of Hungarian folk songs, he published arrangements of these simple tunes alongside his own more ascetic music. The detailed programme notes for the Philharmonia’s Bartók series entitled ‘Infernal Dance’ divide his music into three categories: the banned, the rarely played and the fully approved.

The programme read a little like a musical version of Kim's Game: not one but two full-scale symphonies, the same number of prefatory pieces, and then a piano concerto to boot: a test for the audience as well as the orchestra. The principal connexion between the works – apart from their contemporaneity – was the celebrated conductor, Serge Koussevitsky.