En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Concerto pour piano no. 22 en mi bémol majeur, K482

La pianiste a troqué le clavier pour la baguette dans la Symphonie « classique » de Prokofiev avant de brillamment diriger du clavier le Sinfonia Varsovia dans deux concertos de Mozart et Beethoven.

Après une lecture un peu univoque du Concerto pour clarinette par Raphaël Sévère, Marie-Ange Nguci se révèle une mozartienne accomplie au côté du bel Orchestre de chambre de Paris.

Dans un programme passionnant, la création de Thomas Larcher était habilement couplée à l'Adagio de la Symphonie n° 10 de Mahler, qui répondait particulièrement bien à la Musique maçonnique de Mozart.

L'interprétation de la Symphonie n° 4 restera dans les mémoires comme un tour de force phénoménal, après un concerto mozartien moins convaincant sous les doigts d'Emanuel Ax.

Requiem Allemand par Christoph von Dohnányi annonçait l’affiche : le nom, résonnant avec Cleveland, évoque à lui seul un passé musical des plus héroïques… Mais le maître était souffrant et c’est Thomas Hengelbrock, chef associé de l'Orchestre de Paris, qui a courageusement pris les choses en main. 

Leif Ove Andsnes offre à Genève deux concertos de Mozart très équilibrés qui ont succédé à une Suite Holberg de Grieg contrastée et palpitante. Le style énergique du Norwegian Chamber Orchestra a emporté l’adhésion du public genevois visiblement ravi par tant de jeunesse ! 

On attendait avec impatience le retour de Philippe Cassard dans le rôle-titre du Keuchel 482 de Mozart... Au pupitre, Sir Roger Norrington : figure socratique, la désinvolture du geste et la puissance du vrai, dans toute son intelligibilité.

The Uzbek conductor shows that he's a force to be reckoned with, revealing unimaginable amounts of detail in Stravinsky's score. Jan Lisiecki gives a carefully weighted account of Mozart.

The Seattle Symphony co-commissions a new work, Jan Lisiecki plays Mozart with religious fervor, and Stravinsky's Sacre still creates an uproar.

The debutante conductor made her mark in Prokofiev, with Jan Lisiecki joining in for Mozart.

La Orquesta Filamónica de Jalisco, en su visita al Palacio de Bellas Artes, ofreció una apasionada interpretación de la última sinfonía completa de Mahler.

The Manchester Camerata continue their cycle of Mozart piano concertos with Gábor Takács-Nagy and Jean-Efflam Bavouzet

Mit Bruckners Vierten Symphonie beweist Herbert Blomstedt einmal mehr, warum er der Doyen unter den großen Dirigenten ist.

Stylish Mozart and volcanic Beethoven from the Philharmonia orchestra and their principal guest conductor Jakub Hrůša.

Emanuel Ax’s extraordinary gift for musical collaborations was especially evident in Mozart's E flat major concerto. 

So full of youthful vigor was this concert that it was hard to believe that Haitink is now 90 years old.

Pavel Kolesnikov impresses in a Mozart performance to savour. 

Bernard Haitink conducts an extraordinary account of Bruckner's Fourth Symphony. 

Storgårds, Helmchen and the Boston Symphony Orchestra impress with a programme inspired by nature.

Mit seinen 89 Jahren bietet Haitink in Bruckners Siebter eine beeindruckende Leistung. Till Fellner glänzt im Schlusssatz des Mozart-Konzerts mit fantasievollen Verzierungen.

Eschenbach’s command of the orchestra shone most in the Adagio of Bruckner’s Ninth Symphony, where the climaxes brought out the full gravitas of the work.

A Haydn choral sandwich and meaty Mozart filling served up by the RPO, the pianist Llŷr Williams, City of London Choir and Hilary Davan Wetton.

Charles Dutoit and the SFS brings us a night of Sibelius, Mozart, de Falla and Debussy, giving us a wonderful taste of Europe in one sitting. 

Two big-boned Mozart piano concertos played by Leif Ove Andsnes formed the meaty filling in a concert by the Norwegian Chamber Orchestra that showcased their superb ensemble characteristics.

Andris Nelsons highlights the dialectic between the traditional and revolutionary aspects of Beethoven's Eroica in Boston.

NDR Elbphilharmonie Orchester, Lisiecki und Hengelbrock räumen beim Essener Gastspiel mit Szymanowski, Mozart und Strauss alles ab.

Robert Spano and the Atlanta Symphony Orchestra provide polite Mozart, with soloist Pedja Muzijevic, and a powerful Shoshtakovich Fifth. 

James Conlon led the SFS from the sombre moods of Britten to the gaiety of Dvořák.

Monumental, cataclysmic, terrifying, heroic, ethereal, transcendent: this was Bernard Haitink's performance of Strauss' vast final tone poem.

The ASMF under their veteran conductor Sir Neville Marriner celebrate his 92nd birthday and almost six decades of music-making in performances of Mozart and Bizet, with Till Fellner as soloist.

As part of their blockbuster festival programme Simon Rattle and his brawny Berliners offered Beethoven’s Ninth in a monumental performance. 

An eclectic mix of Debussy, Mozart with the doyenne of the Russian school Elisabeth Leonskaja and the riddle that remains Shostakovich's final symphonic statement.

Bernard Haitink and Mitsuko Uchida took a traditional approach to this core repertoire, yet produced performances that sounded anything but dated. 

Claus Peter Flor conducted the Malaysian Philharmonic Orchestra in a sparkling performance of Mozarts Piano Concerto no. 22 and a fine account of Mahler's First Symphony.

Over the years, the Hong Kong Sinfonietta has made laudable efforts in bringing classical music to the masses and recruiting new audiences. Of necessity, it sticks to a well-trodden repertoire of evergreens which challenges musicians to bring a fresh perspective.The first half of programme on Wednesday evening was devoted to Mozart.

In terms of Mozart’s piano concerti, K482 is known less for its intrinsic musical quality than its predecessor (K467) and its successor (K488), but it is more famous due to the unusual circumstances of its public introduction.

A lengthy standing ovation followed Thierry Fischer’s final St David’s Hall concert with the BBC National Orchestra of Wales, concluding his sixth season with Richard Strauss’ monumental Alpine Symphony after a refined performance of Mozart’s Piano Concerto no. 22 with pianist Angela Hewitt.

After performing the Seventh and Eighth Symphonies of Anton Bruckner on Monday and Tuesday, Barenboim and the Staatskapelle Berlin took no rest, but travelled to Paris to perform the Seventh and Ninth Symphonies in the Salle Pleyel to keep themselves occupied on Wednesday and Thursday.