En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Trio pour piano, violon et violoncelle en la mineur, « À la mémoire d'un grand artiste » Op.50

En deux soirées, le festival de musique de chambre deauvillais a montré ce qui fait sa singularité : mélange des générations d'artistes, richesse des répertoires, excellence de l'interprétation.

En sonate puis en trio dans le chef-d'œuvre de Tchaïkovski, les trois artistes ont livré un concert inégal, ponctué de quelques moments d'exception.

Le mariage des styles des trois interprètes produit une lecture passionnante du Trio op. 50 de Tchaïkovski.

Après les mésaventures des jours passés, le Festival de Bellerive a pu vivre une soirée dans des conditions parfaites, y compris sur le plan musical, avec un Trio Sitkovetsky et une Beatrice Berrut inspirés.

Dans la magnifique Salle du Manège de l'Abbaye, le Trio Chausson a brillé pour le concert inaugural du Festival de Pontlevoy, dans Chopin comme dans Tchaïkovski. 

Olivier Charlier, Xavier Phillips et Roustem Saïtkoulov communiquent leur incroyable énergie au public de la salle Gaveau dans les trios de Chostakovitch, Dvořak et Tchaïkovski.

Argerich. Maisky. Jansen. C’est la promesse de voir le génie en acte, l’autorité musicale en robe d’insouciance.

Lively performances offer fresh perspectives on elegies old and new in the penultimate ChamberFest Cleveland concert. 

It's been nearly two years since Daniel Müller-Schott, Emmanuel Tjeknavorian and Anna Vinnitskaya last played together, and it sounded like it in an uneven programme of Debussy, Tchaikovsky and Brahms.

Eldar Nebolsin, Corey Cerovsek and Gary Hoffman did not completely answer whether Tchaikovsky's Piano Trio is chamber music that wants to be a ballet score or vice versa, but the intoxicating beauty of their playing banished all doubts of whether the answer mattered. 

Three works of different character were given strong, largely persuasive readings by this acclaimed Piano Trio, and impressed with their assurance and commitment.

After a lively appetizer of Stravinsky, the main course of Shostakovich and Tchaikovsky piano trios fail to impress at Wigmore Hall. 

A trio, quintet, and septet add up to an impressive range of emotional and timbral explorations in the concluding concert of Seattle's summer chamber music festival.

The Sitkovetsky Trio impresses with fearless and passionate performances of Smetana, Tchaikovsky and Carl Vine in Sydney's City Recital Hall.

The inaugural Bristol Proms are nearly over. Indeed, if you’re reading this any later than Saturday evening, they’ve been and gone. The festival, run by the Bristol Old Vic, has deliberately been unlike its London namesake.

The Recontres inédites series is what makes the Verbier Festival famous among aficionados. The title translates – roughly – as “Unprecedented Meetings”, and that is certainly what the concerts represent: world-class soloists brought together on minimal but far from non-existent rehearsal time to play chamber music.

Last night’s concert in the Usher Hall contained so many different strands, that it defies simple categorisation. One of a series of nine concerts in Scotland, its first objective was clearly to promote Miss Benedetti’s latest CD, The Silver Violin. This recording features tributes to many of the great composers who wrote film music for the silver screen, hence the title.