En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Concerto pour piano no. 27 en si bémol majeur, K595

Du grand répertoire interprété par Adam Laloum et Anne Queffélec, mais pas que : La Roque d'Anthéron a proposé une remarquable ouverture à la musique d'aujourd'hui, notamment à celle de Gérard Pesson.

Yannick Nézet-Séguin donne avec l'orchestre de Rotterdam une 4ème Symphonie de Bruckner mémorable, précédée du Concerto n°27 de Mozart aux notes incroyablement fraîches sous les doigts de Nicholas Angelich.

Après un concerto pour piano de Mozart un peu décevant malgré l'interprétation très juste d'Imogen Cooper, le BBC Scottish Symphony Orchestra donne une lecture exaltante de la neuvième symphonie de Bruckner, sous la baguette de Thomas Dausgaard.

Radu Lupu accompagné par la Kremerata Baltica fut un bonheur d’équilibre et de musicalité. Malheureusement la soirée fut émaillée de quelques verdeurs et rudesses de la part de l’orchestre qui rendirent le tout un brin endommagé. 

Magnifique soirée à l’Auditorium grâce à Ton Koopman, le Chœur de chambre de Namur et Richard Goode.

Championing British musicm the Ulster Orchestra also performs a seldom heard work by Samuel Coleridge-Taylor. 

A knockout performance of Sir Henry Wood's arrangement of Mussorgsky's most famous composition, coupled with refinement and sophistication elsewhere, show the CBSO at the top of its game.

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.

Limpid Mozart and stirring Sibelius invigorate listeners in Singapore's historic Victoria Concert Hall.

In this musical journey the Greek conductor Constantinos Carydis takes you to Athens and Crete, while Igor Levit explores Apollonian qualities in Mozart.

Lahav Shani and Francesco Piemontesi make their debuts with the Berliner Philharmoniker in a pair of works infused with springtime. 

Thomas Søndergård and Steven Osborne make a well matched team in music ranging from Mozart to the fin-de-siècle.

A concerto was the sandwich, and a very fine one too, but no overture and no symphony: who else would have married Skalkottas and Prokofiev with Mozart's last piano concerto?

Bernard Haitink zeigt einmal mehr, warum er als einer der größten Bruckner-Dirigenten gilt.

Stuart Skelton and Sarah Connolly were the stars of the evening, lifting the performance to a new level in what Leonard Bernstein called Mahler’s “greatest symphony”.

Polished but ultimately tepid performances that kept the emotional temperature under wraps despite some fine individual playing and singing.

Mitsuko Uchida returned to Cleveland for elegant performances of Mozart’s first and last piano concertos, with selections from Handel’s Water Music interjected between.

Maria João Pires gestaltete Mozart mit Subtilität und feiner Agogik, schien sich aber trotzdem nicht optimal entfalten zu können. Dafür war Haitink in Bruckners Vierter ganz in seinem Element.

Robin Ticciati's final season with the SCO begins with some promising Dvořák. 

Yannick Nézet-Séguin's opens season with panache.

Clearly Mirga Gražinytė-Tyla has found her feet with the City of Birmingham Symphony Orchestra and isn't afraid to be a bit experimental.

Andris Nelsons conducts Bruckner's Ninth symphony, while Paul Lewis plays Mozart.

Daniel Barenboim and the Berlin Staatskapelle start a traversal of the Bruckner numbered symphonies, a first for Carnegie Hall

The first performance of the Boston Symphony’s final program for 2016 fell on St Cecilia's Day. The patron saint of music must have been pleased to see the past, the present and the future join hands in a program anchored by two warhorses of the Romantic repertory.

Con David Greilsammer como invitado doble, director y pianista, la OSN nos ofreció un programa cien por cien Mozart, una interesante propuesta que combinó elementos de la tradición con algunas referencias a la interpretación histórica y un toque contemporáneo.

Znaider's two-week residency at the NSO ends with an impressive Mahler 1. 

Pin sharp playing and pin sharp acoustics combine to form a high quality reading of Mozart's Piano Concerto no. 27 and Shostakovich's Symphony no. 15, one of the quirkiest of symphonies.

Rudolf Buchbinder zeigte ein weiteres Mal, welch bestaunensswerte Interpretation aus langjähriger Quellenforschung erwächst. 

A hard working concert from the excellent RSNO and Peter Oundjian, proved to be a very harmonious mix of mellow works by Messaien, Mozart And Bruckner.

Charming rendition of Mozart’s last piano concerto not enough to save Philharmonia Orchestra’s evening.

In yesterday’s matinee concert at the Konzerthaus, the Wiener KammerOrchester, Stefan Vladar and Thomas Quasthoff presented music by Mozart, Prokofiev and Poulenc in a family-friendly format. 

Haydn effervescent, Mozart élégant, Greenwood énigmatique et Tchaïkovsky exaltant : le ACO à Dublin.

Menahem Pressler's début with the Royal Concertgebouw Orchestra, conducted by Trevor Pinnock at Amsterdam’s Concertgebouw. Cynthia Wilson reviews.

What a fine Mozart orchestra the LSO became under the benevolent gaze of Sir Colin Davis, and with Bernard Haitink on hand as a regular guest conductor, what a fine Mozart orchestra they shall continue to be. Their annual concerts at Lincoln Center this year paired Mozart with Shostakovich, the latter a composer in whose music it would be easy to forget that Haitink has considerable experience.

Mozart finished the Piano Concerto no. 27 in January 1791, the year he was to die. His music had fallen out of favour in Vienna, he was very short of funds, and he and his wife had been repeatedly unwell over the previous years.

The Oxford International Piano Festival comprises a two-week long series of workshops and concerts, hosted by Oxford Philomusica and featuring pianists of international esteem, among them Andreas Haefliger and Sergei Babayan. It was Menahem Pressler, now in his 88th year, who gave the closing piano masterclasses and performed in the closing concert at the Sheldonian Theatre.

Nothing quite made sense in this programme, but the confusion was impressive nonetheless. The opening, the UK première of Anders Hillborg's 'Cold Heat', was a prime example of post-minimalism: an eclectic assortment of styles, juxtaposed with consideration, but without much sense of unity for the work itself.

There is a remarkable story about Portugese pianist Maria João Pires and a Mozart concerto, which she was due to perform with Riccardo Chailly in Amsterdam. The orchestra played the opening bars of the D minor concerto; however, this was not the one Pires was expecting to play. Miraculously, Pires continued to give an assured performance, revealing her extraordinary musical capacity.

When this deeply thoughtful account of Bruckner’s 4th Symphony came to its end I was reminded of a line from Bob Dylan’s song "It ain’t dark yet, (but it’s getting there)" on his album Time Out of Mind, where he sings, "I know it looks like I’m moving, but I’m standing still.