En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Suite de danses, Sz. 77

Le retour de la pianiste arménienne à Québec n’a pas été des plus heureux, avec un Concerto n° 2 de Brahms à la dérive. Le chef Fabien Gabel a partiellement sauvé la soirée avec un Bartók tonique. 

L’Orchestre de Paris s’adjoignait mercredi la violoniste Patricia Kopatchinskaja pour un concert consacré à deux maîtres de la musique hongroise : Béla Bartók et Péter Eötvös, au pupitre de direction ce soir.

Ligeti's Concert Românesc gets a well characterised reading, but Gardiner's Bartók and Haydn come off less well at LSO St Luke's.

A vibrant evening of dance and drama from the London Symphony Orchestra in music by Bartók, Strauss, and Hannah Kendall.

Peter Eötvös and the BBC Symphony Orchestra offer a new music and a clever programme for this lively Prom concert. 

Un atractivo programa fundado en los contrastes, con un discurso heterogéneo que entrecruza lenguajes folclóricos, electroacústicos y clásicos, donde la emotividad se reinventa en las melodías de Kaija Saariaho. 

La OSN ofreció el pasado jueves en el Baluarte un concierto diferente y demostró cómo la música es capaz de mover montañas.

Karabits leads an adventurous programme at the BSO’s Poole home, with flamboyant violinist Nemanja Radulović on surprisingly refined form in the Barber Concerto.

Pablo Heras-Casado conducts the New York Philharmonic in a performance that provides many a musical lesson, but not much fuel to the imagination.

In the first of two successive Proms appearances, the BBC National Orchestra of Wales gave solid performances of two popular scores from the central European repertoire. Malcolm Hayes’s new work, however, proved to be the highlight of the evening. 

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. 

For a folklore enthusiast like yours truly, the CBSO’s matinee last Saturday seemed the perfect recipe: take some Liszt, a generous amount of Bartók and a pinch of Brahms, then add to the excellent musicians for a delectable musical experience.

Severance Hall was packed this weekend for a rare appearance by violinist Joshua Bell with the Cleveland Orchestra and music director Franz Welser-Möst conducting. There should have been no disappointment; the concert was brilliantly executed from beginning to end. This review is based on the performance of Saturday, 19 January.Jörg Widmann’s Lied (2003, revised 2009) opened the concert.

January 2013 is turning out to be a pretty major month for 20th-and 21st-century classical music in London’s cultural mainstream, with Harrison Birtwistle’s The Minotaur roaring loudly at the Royal Opera House and the Southbank Centre’s The Rest Is Noise series, a year-long celebration of 20th-century music, launching currently.

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.