En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Le nozze di Figaro (Les Noces de Figaro), K492: ouverture

Dans Les Quatre Saisons comme dans Mozart, le violoniste-chef du Concert de la Loge montre sa capacité à donner toute leur éloquence et leur souffle vital à des partitions (trop) souvent entendues.

Remplaçant Tarmo Peltokoski au pied levé, le chef allemand a magnifiquement dirigé un programme qui tissait un parallèle très juste entre Mozart et Strauss. Avec Siobhan Stagg en invitée d'honneur.

En soliste dans le Concerto op. 64 comme à la baguette le reste du concert, le violoniste autrichien se place au service du discours romantique mendelssohnien, léger, ciselé, ardent.

Pour son baptême du feu avec la formation berlinoise, le jeune pianiste et chef russe a marqué les esprits, de même que Sabine Devieilhe dans un programme 100% mozartien.

L'Orchestre National d'Île-de-France, emmené par Christian Arming, proposait l'ouverture des Noces de Figaro, la Symphonie n°7 de Beethoven et, entre les deux, le rarement entendu Concerto pour Bandonéon d'Astor Piazzolla, avec Per Arne Glorvigen en soliste.

Queffélec et l'orchestre communient en apesanteur dans l'ascèse. Admirable de probité, d' « honnêteté artistique », ce concert à la Roque-d'Anthéron restera dans les mémoires. 

Bannie par certains, accueillie à bras ouverts par d’autres : il est risqué de s’embarquer avec la soliste argentine Sol Gabetta. Son nom ensoleillé et sa personne non moins rayonnante sont en effet susceptibles de donner libre cours à l’emphase. Mais pas dans cette collaboration avec le Kammerorchester Basel et son fidèle compagnon Giovanni Antonini.

Une belle idée sous-tend cette « Nuit Chopin », en compagnie des deux lauréats du dernier Concours de Varsovie, celle d’en rejouer la Finale. Voilà le public confronté aux mêmes œuvres, aux mêmes musiciens : Charles Richard-Hamelin et Seong-Jin Cho, accompagnés par Aziz Shokhakimov à la tête du Sinfonia Varsovia.

Invités au salon d’Angela Gheorghiu, les mets sucrés auront eu raison de notre foie… 

Soirée au grand air à l’Auditorium avec Alexandre Tharaud et Nans Moreau dans Debussy, Grieg, Mantovani et Respighi.

Devant un public euphorique, le West-Eastern Divan Orchestra a célébré la musique hispanisante dans un concert festoyant, sous la baguette bienveillante de Daniel Barenboim.

Some unexpected tempo swerves from Minasi in the Jupiter in an otherwise sprightly evening of Mozart from Ensemble Resonanz. 

Superbly responsive performances of standard repertoire given a new lease of life by a young Norwegian conductor in Basingstoke.

Jaime Martín keeps Mozart's Jupiter flowing with the elegant, life-enhancing energy that characterized the LACO under Sir Neville Marriner... just as stylish with perhaps more temperament. 

Sydney revels in Joshua Bell's masterful violin playing and leadership of the Academy of St Martin in the Fields on their Australian tour.

Gábor Takács-Nagy and Jean-Efflam Bavouzet tackle Mozart's Piano Concertos nos. 24 and 25 with the Manchester Camerata with their usual panache.

The Gala Mozart Belcanto featured internationally renowned artists who performed a high quality virtuoso concert.

After a few streamed events with chamber forces, the full orchestra and chorus returned to the House – albeit not in their usual positions – for an entertaining fundraising gala.

Simon Rattle continues his European travels, returning to the Philharmonie im Gasteig for a fine programme with the outstanding Bavarian Radio Symphony Orchestra. 

Bell didn’t try to impress with speed nor call attention to his virtuosity; expression and color were paramount with notes sounding clearly.

A forced programme change by Hong Kong Sinfonietta proves beneficial, lightening up the evening with Mozart’s overture to Le nozze di Figaro before a pair of Beethoven works. 

The Vienna Philharmonic Orchestra plays a programme by many Strausses – even Richard – in a programme conducted by Christian Thielemann. 

Considered Mozart and volcanic Schubert in a Viennese programme at the Royal Festival Hall.

Imogen Cooper shone in Aurora's serious and fulsome performances of Mozart.

Ob tänzelnder Rausch, titanischer Trotz oder Tempo: bei MusicAeternas aktuellen Tour waren Expressionserfahrungen und Überraschungen garantiert.

Teodor Currentzis and his musicAeterna players from Siberia together with Alexander Melnikov venture into familiar musical territory.

Tonal finesse, graceful articulation and magical simplicity mattered more than anything else in Yefim Bronfman's version of Beethoven's Third Piano Concerto.

After hearing three exhilarating and razor-sharp Philharmonia concerts this season under Esa-Pekka Salonen and Jakub Hrůša, this performance with regular guest conductor Yuri Temirkanov felt decidedly “Old School”.

Diana Damrau performs Mozart and Strauss at the Grafenegg Festival, located about an hour’s drive from Vienna.

For the first of three concerts at the Cadogan Hall, the Vienna Tonkünstler Orchestra gave a heavy account of Beethoven's Piano Concerto no. 4, lightened by the graceful playing of Angela Hewitt, followed by a rich New World Symphony.

Serebrier and the ECO deliver fine performances of Haydn, Beethoven and Vaughan Williams.  

World-class artists collaborate to celebrate Suntory Hall's 30th anniversary. 

Le Cercle d'Harmonie with their founder Jérémie Rhorer fail to convince in symphonies by Mozart and Mendelssohn, whereas the Italian soprano Rosa Feola triumphs in two concert arias.

A starry night at the Hollywood Bowl for Gustavo Dudamel, Alice Sara Ott, Miah Persson, Gerald Finley and the LA Phil to perform Mozart.

Master improviser, Robert Levin, proved an informative and fun guide to a selection of Mozart's later masterpieces, performed with panache by the Academy of Ancient Music.

Gerd Schaller, the Munich Philharmonic Choir and Philharmonie Festiva present a successful revival of an almost forgotten Mass by Johann Herbeck, and Olga Pogorelova plays heavenly Mozart at the spa town of Bad Kissingen.

It is always a risk and a pleasure to programme some of the most well known works in the classical repertoire, and Italy’s Orchestra Mozart, joined by young Venezuelan conductor Diego Matheuz and pianist Maria João Pires, had some of the favourites on show in the Queen Elizabeth Hall on Thursday evening.They opened the concert with the effervescent overture to Mozart’s Marriage of Figaro.

A concert like this could have three possible outcomes: one, frustration at catching just a glimpse of a multitude of operas without the benefit of character or plot development or the embellishment of sumptuous costumes or stage sets; two, inspiration to delve further into the world of opera, nudged by tantalising hints of dramatic tension and a world of emotions; or three, sheer escapism into a

Why establish a new orchestra, to perform in a new hall, across the street from an eminent opera company as well as one of the country’s premier symphony orchestras? It’s a good question with many possible valid responses, and I wish I had more of an answer after attending the grand opening concert of the Dallas Chamber Symphony this Tuesday evening.

How gratifying that James Conlon briefly introduced the rationale for this Philadelphia Orchestra concert, which turned out to be entirely divorced from the nostalgic ‘Memories of Prague’ that its title suggested. Instead, what I had presumed to be coincidental key signatures were in fact the link: an exploration of D minor (with a side of D major).

There are the knowns. The things, as Rumsfeld would have it, that we know that we know. Like the way the Aurora orchestra can bring sheer youthful exuberance to a fast piece like the G Major presto finale to the symphony No.27 which ended the first half of last night's all-Mozart concert at Kings Place. Aurora don't just survive at these breakneck tempi, they absolutely thrive on them.