En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Concerto pour piano et orchestre no. 1 en sol mineur, Op.25

La symphonie emblématique du compositeur de La Côte-Saint-André a bénéficié de l'engagement d'un bel Orchestre National de France, malheureusement émoussé par la direction de Thomas Hengelbrock.

À la tête de son Orchestre de chambre de Paris, le chef et pianiste dirige un concert 100% Mendelssohn éblouissant, qui rend justice au génie du compositeur.

À la Philharmonie de Paris, Martin Helmchen interprète un bouillonnant Concerto pour piano n° 1 de Mendelssohn. S'ensuit une lumineuse Symphonie n° 1 de Brahms, par l'Orchestre de Paris et Herbert Blomstedt.

Le Festival de Radio France de Montpellier a offert un concert autour de Felix Mendelssohn justement intime et vibrant. 

In a fine-tuned collaboration with conductor Alain Altinoglu, the gifted young pianist shows brilliant command of a keyboard showpiece.

The first of three concerts in a Mendelssohn cycle sees Sir András Schiff and the Orchestra of the Age of Enlightenment tackle the composer's First and Fourth Symphonies, preceded by the Piano Concerto no. 1.

Gemma New makes a positive impressive in the Mostly Mozart Festival Orchestra's lively rendition of the “Prague” Symphony. 

Conducting the LPO, Dima Slobodeniouk plumbs the depths of Sibelius' Second Symphony, while Beatrice Rana reveals the bewitchment at the heart of Mendelssohn's First Piano Concerto.

Joana Carneiro conducts the BBC Philharmonic in a lively Mendelssohn concerto and elegant Mahler Fifth.

Royal Northern Sinfonia and Lars Vogt take us on a joyful dance through central Europe in the company of Brahms, Beethoven, Mendelssohn and Dvořák.

Fine performances of music associated with Queen Victoria, with a royal novelty thrown in to complete a programme marked by commitment and vigour. 

Less is more in a brilliant performance by the Orpheus Chamber Orchestra and star soloist Jan Lisiecki at Prague Spring.

Nico Mulhy's great gift as an orchestrator and his ability to construct colorful and suggestive textures are evident in Liar, presented by the Philadelphia Orchestra together with Schubert and Mendelssohn.

A rare outing for Fanny Mendelssohn's Overture in C opens the second half of the Boston season. 

Excellent performances by James Gaffigan and The Cleveland Orchestra of music by Barber, Mendelssohn, and Sibelius made for an enjoyable summer evening at the Blossom Music Festival. Stephen Hough was an outstanding piano soloist.

To works by Mendelssohn and Schumann, Søndergård added music by two impressive female composers who died far too young and whose works are far less known than they should be, Lili Boulanger and Morfydd Owen. 

Bei ihrem Berliner Gastkonzert brillieren der Ausnahmepianist und die Deutsche Kammerphilharmonie Bremen mit Mendelssohn Bartholdy und Schubert.

Semyon Bychkov lead the New York Philharmonic in an outstanding rendition of Shostakovich’s Fifth Symphony.

Heinz Holliger conducted a fine interpretation of Schubert's Ninth, but it was Stephen Hough's performance of Mendelssohn’s Piano Concerto No. 1 that really made the evening.

Norrington's Schumann cycle with the RSNO begins convincingly.

On a program with unusually slow tempos in Tchaikovsky’s Sixth Symphony and Mendelssohn’s The Hebrides, Argentine pianist Ingrid Fliter gave a cursory performance of Mendelssohn's First Piano Concerto.

A magnificent account of Beethoven's Seventh Symphony redeems a unique, if uneven program.

Kees Bakels has worked with the Bournemouth Symphony Orchestra many times over the last 30 years and the rapport that he and the BSO share is very apparent. 

Nicholas Angelich's Mendelssohn Piano Concerto reaches places that Nézet-Séguin's and the LPO's Mahler Ninth at the Royal Festival Hall rarely touched. 

The Scottish Chamber Orchestra made a welcome return to the Proms after two years’ absence (their last appearance was in the late night Prom in 2010), led by their youthful principal conductor Robin Ticciati, who has already been in the post for four years. They brought a programme showcasing the early 19th-century repertoire which Ticciati has recently been exploring with this orchestra.

If you watch one of Alfred Hitchcock's better movies (The Birds and The Man Who Knew Too Much are good examples), the timing and pace has a strange effect. The first half hour passes pleasantly enough: you meet the characters, and nothing too much happens. An hour in, and the action is running at break-neck pace, your pulse is racing, and your brain is straining to keep up.