En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Symphonies d'instruments à vent

Le jeune pianiste russe proposait un programme allant de Sibelius à Lourié en passant par Grieg, Rautavaara, Prokofiev, Scriabine et Stravinsky... Le résultat dépasse toutes les attentes possibles et imaginables.

Dirigé par Jonathan Nott, l'Orchestre de la Suisse Romande propose un voyage qui ne manquait pas de charme sur le papier, avec une création d'Éric Montalbetti servie par la flûte d'Emmanuel Pahud...

Le programme de la saison musicale à Mulhouse s'est enrichi le 12 novembre d'un nouveau concert. L'orchestre symphonique de Mulhouse sous la direction de Patrick Davin était associé à des invités qui comptent. Le compositeur allemand  Johannes Schöllhorn, les Neue Vocalsolisten de Stuttgart, enfin le violoniste Nemanja Radulovic dont l'originalité le dispute à la virtuosité.

“Go big or go home!” A new season opens with the CBSO and Chorus giving an epic Beethoven Ninth at Birmingham's Symphony Hall. 

Sir George Benjamin begeistert mit Werken von Oliver Knussen, Unsuk Chin, Igor Strawinsky und György Ligeti.

Con el complejo Concierto para violín de Elgar en las exquisitas manos de Frank Peter Zimmermann y la brillantez de la música de Stravinsky, la Sinfonica de Galicia concluyó la presente temporada.

Stravinsky and Bartók rarities were the genesis of a superb concert program in Montreal with Finnish conductor Hannu Lintu.

Ziyu He makes light of the fiendish difficulties in Stravinsky's Violin Concerto at the Esplanade Concert Hall. 

Were we to celebrate a great artist fifty years after his death with three misbegotten attempts at a form he never understood?

While Stravinsky and Britten tuck away their sentiments and melodies, the debate about Shostakovich’s Fifth seems finally to be settled.

The players gathered at the bar for a Scotch as the credits rolled. After three hours and twenty minutes of note-taking, I decided to follow suit.

Razor sharp precision from Nelsons and the BSO in Shostakovich and Stravinsky, with intensely expressive playing from Michael Zaretsky and Randall Hodgkinson in Eda Rapoport's Poem.

The Bavarian Radio Symphony Orchestra's new chief conductor revels in a flawless performance from his star players.

Another classic Rattle concert produced a very strong sense of occasion at the Barbican. Sir Simon is certainly making his mark on the London concert scene...

Bartók's Concerto for Orchestra – premiered by the BSO under Serge Koussevitzky and a familiar calling card ever since – opens the new season.

A programme of new music and 20th-century classics reflects on loss, war, inhumanity and redemption. 

Nicholas Collon and the BBC Philharmonic play two pieces by Stravinsky, Sibelius and Beethoven in a fine concert at Bridgewater Hall.

Franz Welser-Möst leads a compelling performance of the seldom-heard Threni.

In the first concert of their exciting series Stravinsky: Myth and Ritual celebrating the varied musical inspirations of this most iconic figure of 20th-century composers, the focus was on Rituals. 

Woodwind and Brass from the Royal Conservatory of Scotland gave sparkling Stravinsky performances of his Octet, Symphonies of Winds and joined by RCS Voices for his Mass.

Birtwistle’s Responses poses more questions than it answers, but Aimard’s Messiaen was a triumph. 

Sir Mark Elder conducted a superb account of Tchaikovsky’s Fifth Symphony alongside colourful Stravinsky and elegant Mendelssohn at Manchester’s Bridgewater Hall.For Stravinsky’s Symphonies of Wind Instruments, the orchestra’s woodwind and brass sections were divided in the middle of the stage.

Celebrating the work of emerging artists and their 20th-century heritage, the LSO Futures concert series came to a spectacular close this weekend at the Barbican. In a two-part programme devised by conductor François-Xavier Roth, chamber and orchestral forces reckoned with the challenges posed to the symphonic tradition.

The announcement by the presenter that Stravinsky did not intend Symphonies of Wind Instruments to please the audience or arouse their passions was greeted with titters of laughter. An overheard conversation during the interval signalled that the number of late arrivals to the concert was suspected to be ‘because they didn’t want to sit through the Stravinsky’.