En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Concerto pour piano no. 25 en ut majeur, K503

Si la direction d'Eva Ollikainen a déçu dans la Quatrième Symphonie de Brahms, la première partie du concert fut autrement plus réussie, avec un admirable Concerto K 503 de Mozart par Francesco Piemontesi.

Cette année comme en 2015, le Prix Clara Haskil n'a pas été attribué, malgré l'excellente prestation de Hyelim Kim à Vevey.

An evening at the Seoul Arts Center in which clarity matters as much as volume and the most telling virtuosity comes from a refusal to grandstand.

Kazuki Yamada selects a regal Mozart piano concerto and a sprawling Elgar symphony for his Cleveland Orchestra debut.

In the second of his Mozart concerto appearances with the Philharmonia, Mao Fujita plays the heavenly Piano Concerto no. 25 in C major. 

Sir András Schiff ofreció junto a la Cappella Andrea Barca un magnífico concierto en el que destacó especialmente una inolvidable interpretación de Mozart.

Ausgerechnet mit der wenig populären Sechsten Symphonie feierte das Gewandhausorchester Leipzig in Luzern – auf den Tag genau –den 200. Geburtstag Anton Bruckners.

Die Deutsche Kammerphilharmonie Bremen zauberte unter der Leitung von Paavo Järvi gemeinsam mit Daniil Trifonov Freude ins Große Festspielhaus.

Karina Canellakis comes along at just the right moment to see what a possible contender for the open LA Phil post could bring. 

For his performance of Mozart's C major Concerto, Emanuel Ax plays a new concert grand designed by the late architect Rafael Viñoly.

The evening's other soloist, Francesco Piemontesi, captivates the audience with his elegant and assured playing in Mozart. 

Pablo González llega a Madrid con su gira por España junto con la Dresdner Philharmonie

Jurowski and Martin Helmchen underline how much Mozart's Piano Concerto no. 25 in C major looks forward to the “Jupiter” Symphony and to Beethoven. 

Dame Mitsuko Uchida demonstrates why she is one of today's greatest Mozartians, while her MCO players give a virtuoso account of a work steeped in the Viennese tradition.

Dame Mitsuko Uchida und das Mahler Chamber Orchestra bringen Mozart und Schönberg ins Amsterdamer Concertgebouw.

Roberto González-Monjas conducts the Belgian National Orchestra, joined by Paul Lewis, in Manchester's Bridgewater Hall.

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

Two powerful symphonic statements by a Ukrainian and a Finnish composer flanking a calm and courtly concerto by Mozart: Jukka-Pekka Saraste and the London Philharmonic Orchestra, together with the American pianist Richard Goode.

In our Covid-infested world, quality music making is still possible, as demonstrated by Imogen Cooper and her Aurora Orchestra friends. 

Howard Shelley returns to Belfast, bringing vitality to a programme in which he convinced with infectious interpretations. 

Yu-An Chang and the Boston Symphony Orchestra premiere Chihchun Chi-sun Lee's commission and Till Fellner offers a lucid, elegant classical interpretation of Mozart.

The LMO deliver a lively account of Prokofiev’s “Classical” Symphony and Haydn’s last symphony while Shelley shines in Mozart’s Piano concerto no. 25.

A concert repertoire played by the fine Bavarian Radio Symphony Orchestra, Bernard Haitink conducting, was a promising alliance for the last concert of this year’s Easter festival in Lucerne.

Robert Spano leads the Atlanta Symphony Orchestra in a powerful performance of Gandolfi's inspired Imaginary Numbers.

Ben Gernon conducted the BBC Philharmonic in Manchester’s Bridgewater Hall in colourful Stravinsky and soulful Tchaikovsky, while Cooper encapsulated this in Mozart.

Peter Oundjian’s final Bruckner with the RSNO reveals real strengths.

Piotr Anderszewski played and conducted Mozart and Beethoven concertos with the Chamber Orchestra of Europe plus pieces by Bartók and Janáček. An ideal partnership and fine performances.

Most of the audience has obviously attended the performance for Uchida’s Mozart. But the exceptional, challenging experience of the evening came from elsewhere.

Mitsuko Uchida finds inner depth in Mozart piano concertos while the Mahler Chamber Orchestra revels in Bartók's gritty and languorous Divertimento for Strings.

After a shaky start, Mitsuko Uchida showed why she is keen to revisit a well-established Mozart repertoire.

Somewhere in the region of 180 singers and instrumentalists faced Andrew Manze as he took the podium at Birmingham’s Symphony Hall. Could he handle them? There was never any doubt.

San Diego’s Copley Symphony Hall resounded with the noble key of C major via Mozart and Schubert. 

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.

Michael Tilson Thomas and the San Francisco Symphony have made a partnership from playing with expectations, and this first of two Carnegie Hall concerts this season was yet another example of their craft.In a programme of Beethoven, Copland, and Steven Mackey, perhaps the most amazing subversion here was that by far the most interesting performance came in a Mozart piano concerto.

After all that tonal instability in last week’s Wagner marathon at the Proms, Daniel Harding and the Mahler Chamber Orchestra’s programme celebrating C major came as a breath of fresh air. The Royal Albert Hall had cooled down a bit too.

Saturday night, Avery Fisher Hall saw a solid and well-crafted final performance of Mozart’s Piano Concerto no. 25 and Bruckner’s Symphony no. 3. The piano concerto was cleanly executed and so polished as to allow the Mozartean patina to shine clearly through.

The billing looked intriguing enough: Kevin Griffiths – the young London-born conductor, celebrated for his dedication to contemporary music, coupled with his fellow countryman Paul Lewis – one of today’s prominent performers of Beethoven and particularly Schubert, in an evening dedicated to Mozart’s music.

This creative SCO programme offered two works in either half, performed in reverse chronological order. Virtuoso violinist Alexander Janiczek directed the first of each pair, beginning with Schubert’s 1817 Overture in D major “In the Italian Style”, D.590.

A tense, Holocaust-inspired orchestral work by Henri Dutilleux followed by one of Mozart’s most chipper piano concertos on one half; a second half consisting of only the Beethoven Symphony no. 5. That's a strange enough combination on paper – and hearing it actually realized is stranger still. You have to wonder what they were thinking.

This was a tremendous concert. That is to say it presented two of the grandest works in their genre, Mozart’s longest piano concerto and Bruckner’s longest completed symphony, moving from Mozart’s imposing C major maestoso entrance to, nearly 2 hours of music later, Bruckner’s blazing C major transfiguration.

Bruckner fans are a dedicated and erudite bunch: a quick stare at the Wikipedia entry or the Bruckner Society's website gives you more to read than you can possibly imagine about Bruckner's life and approach to his work, and last night's performance of his unfinished Ninth Symphony had more audience members poring over copies of the score than most concerts.There's certainly plenty to pore over.