En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Une nuit sur le mont Chauve

Artiste en résidence cette saison à Radio France, le flûtiste proposait la création mondiale d'une partition (décevante) de Samy Moussa, avec l'Orchestre National de France qui avait fort à faire dans le reste du programme.

Dans Brahms, Liszt, Prokofiev et Moussorgski, le pianiste macédonien pousse l'art du clavier à un degré stupéfiant de raffinement.

Dernier concert de la saison symphonique de l’Orchestre Pau Pays Béarn, avec un programme de musique russe symphonique et poétique empruntée à Modeste Moussorgski, Piotr IlitchTchaïkovski et Igor Stravinsky.

Malgré l’annulation de Sonya Yoncheva, c’est avec bonheur que le public genevois a découvert la splendide Asmik Grigorian, pour célébrer dignement le centenaire de l'Orchestre de la Suisse romande.

Une soirée de feu mélânt orgue, harpe, percussions, danse et mise en lumière célébre les Lumières lyonnaises. 

Ça y est... Vendredi 19 décembre a eu lieu le dernier concert de musique classique à la Salle Pleyel. L’ONDIF et Wayne Marshall ont proposé pour l'occasion plusieurs “chefs-d’œuvre de la musique classique au cinéma”. Un maître-mot pour cette soirée si spéciale : émotion. 

Boris Giltburg emphasising the expression in not one but two piano concertos, with commanding performances from Lawrence Foster and the Philharmonia.

La Orquesta Sinfónica de Tenerife demostró una vez más su camaleónica capacidad con un variado programa y la dirección de la batuta invitada, Rebecca Tong.

Das englische Orchester bietet mit seinem Chefdirigenten Vasily Petrenko und Julia Fischer einen „perfekten” Abend in der Isarphilharmonie.

Christian Tetzlaff conjures brilliant colour and ecstatic passion from Szymanowski's First Violin concerto in Ghent.

Music from different genres, for the big and small screens, sit side by side in an evening of music that ignites and enchants the imagination. 

Celebrating its centenary the orchestra and its chief conductor proposed a programme consisting of works (mostly) composed in the last 100 years.

An astonishing showcase, with Christian Li tackling both works with technical skill and swagger that belied his tender age. 

Showing exquisite tonal colouring in Brahms and Liszt, Trpčeski mesmirised the audience with his bravura in Mussorgsky and Prokofiev. 

El acto de contemplar a Orozco-Estrada anticipar cada compás del Don Juan y de El caballero de la rosa devolvió la imagen de una gesta fraguada no sólo desde su conocimiento experto de la partitura, sino también gracias a un estado de forma pletórico.

Who would have thought celebrating a Black Mass could be quite such fun?

An occasionally uneven but often searing set of performances from the Tekfen Philharmonic and cellist Daniel Muller-Schott. 

A potentially stimulating mix of full-bloodied Russian orchestral writing not fully realised by the RPO and Alpesh Chauhan, but with a promising concerto debut by Diana Adamyan.

Vitality and contrast characterised Jordan's memorable performance of a colourful and passionate Slavic programme

Alexander Shelley curated a hot-blooded programme of adventure and imagery with the Royal Philharmonic Orchestra, with Susanne Hou showing extraordinary technique and class in Tchaikovsky’s Violin Concerto.

On the second leg of its current European tour, the Chicago Symphony Orchestra and Riccardo Muti fail to scale the heights in an acoustically problematic venue.

Debut del director madrileño Pérez-Sierra ante la ONE con un programa que nos llevó del aquelarre en el Monte Pelado al éxtasis de las Piezas sacras de Verdi y la Sinfonía núm. 4 de Scriabin.

When the Boston Symphony audience embraces a conductor with sustained, enthusiastic applause as they did with Jakub Hrůša, making his debut, they are not only expressing their approval; they are saying you belong.

Riccardo Muti inaugurated the Chicago Symphony's season with what they do best: two orchestral showpieces and a magisterial Bruckner symphony.

La OSPA nos sumergió en un vivo concierto a través de tres apasionadas obras de Mussorgsky, Piazzolla y Tchaikovsky.

On day release from the Covent Garden pit for their annual evening in the limelight, the ROH Orchestra took a quick spin through works by Russia's Mighty Handful. 

Dirigent Salvador Mas Conde verlangte im Spiegelsaal von Schloss Herrenchiemsee den Musikern der Klangverwaltung alles ab - und offenbart die Schönheit der russischen Romantik in all ihren Facetten.

The BBC's Ten Pieces project culminates in a spectacular Proms event, some of it confusing for adults, but all well-received by the children.

The Campaign for Real Mussorgsky has been fighting the good fight for decades. Here, Vladimir Jurowski and the Orchestra of the Age of Enlightenment went one step further… performing original versions of his scores on period instruments. 

Beginning with a work sprung from the minds of not one, but two great Russian composers, the Royal Philharmonic Orchestra and Andrew Litton opened their latest distinctly Slavic programme at the Southbank Centre with Rimsky-Korsakov’s revised version of Mussorgky’s Night on Bare Mountain.

Sometimes, when hearing an instrumentalist’s debut with an orchestra on a tight schedule of concerts and rehearsals, an encore tells you even more about the quality of the soloist than the concerto that precedes it. Such was the case here, as young superstar Daniil Trifonov obliged a typically generous audience at Lincoln Center with Liszt’s transcription of Schumann’s “Widmung”.

With the official season at a close, the San Francisco Symphony’s “Summer and the Symphony” is well underway with a collection of concerts designed to attract and welcome all audiences. Friday night’s offering was a collaboration with circus troupe Cirque Musica, partnering classical and popular repertoire with a variety of dazzling cirque acts.

The Moscow Philharmonic Orchestra enjoyed an evening of youthful exuberance in the Bridgewater Hall with an all-Russian programme, conducted with grace and refinement by Yuri Simonov.Modest Mussorgsky’s Night on the Bare Mountain explicitly paints what the composer called “Spirits of darkness...and the Black Mass” in a progressively wild orgy before the bells of dawn break the scene.

Last night’s concert with the RPO under the baton of Artistic Director Charles Dutoit began with Mussorgsky’s orchestral showpiece, Night on a Bare Mountain. The piece describes the dreadful antics of three witches as they await the Devil’s appearance on a spooky mountain top.

Prom number 40 saw a Russian conductor at the helm of the London Philharmonic Orchestra, playing a selection of music from some of the great Russian composers of the last two centuries, all with very distinct styles. Rimsky Korsakov’s orchestration of Mussorgsky’s Night on a Bare Mountain began the concert and conjured up all the fantastical imagery the name promises.