En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Symphonie-concerto (ou Sinfonia concertante) pour violoncelle et orchestre en mi mineur, Op.125

Vendredi 10 juin l’Orchestre Philharmonique de Radio France emmenait le public à l’Est de l’Europe avec la Symphonie concertante pour violoncelle et orchestre de Serge Prokofiev et le célèbre Concerto pour orchestre de Béla Bartók. Une soirée peut-être un peu trop sage, mais dirigé au pied levé par la talentueuse et prometteuse Marzena Diakun.

Gautier Capuçon et Leonard Slatkin nous proposent un concert aux multiples teintes musicales, du calme à la tempête.

Alisa Weilerstein plays Prokofiev's Sinfonia Concertante before her husband conducts a key work from the OSM's history, Ravel's ballet Daphnis et Chloé. 

Daniele Rustioni conducts a programme of orchestral favourites and a concerto rarity featuring cellist Alban Gerhardt.

Appropriately for a Russian-themed programme, two works in a minor key, one by Prokofiev and the other by Tchaikovsky, bring out the best in Alan Gilbert and the NDR Elbphilharmonie Orchester.

Shelley and the RPO make sense of Shostakovich with lush Glazunov, tight Borodin and dazzling Prokofiev with Kian Soltani.

A sadly under-attended concert by Stéphane Denève and the Brussels Philharmonic saw fine technique and a clear appreciation of the final pieces of Rachmaninov and Prokofiev's careers.

Valery Gergiev is the most committed advocate for Prokofiev, so it is no surprise that in this 125th anniversary year, he is leading the celebrations, programming the symphonies and three string concertos too. Too much?

Tonight's concert was listed under the City of Birmingham Symphony Orchestra's "Indulge" series, and it was indeed an occasion for feeling well and truly spoilt.

Valery Gergiev has drilled the Prokofiev idiom into the LSO to great acclaim. His Mariinsky Orchestra has it running through their veins.

Like most performing arts organizations have already done, the Dallas Symphony Orchestra have realized that classical music is not tremendously popular among young people.

'Hero / Antihero' was how the Sydney Symphony Orchestra entitled their latest musical offering at Sydney Opera House. The title, of course, was referring to the anti-hero in Tchaikovsky's Voyevoda and the musical hero of Beethoven in his Eroica Symphony, which needs no introduction. However, 'Hero' might also have referred to solo cellist Alisa Weilerstein and guest conductor Osmo Vänskä.