En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Symphonie no. 1 en ré mineur, Op.13

Second épisode du diptyque Rachmaninov proposé par les Philadelphiens sous la direction de Yannick Nézet-Séguin, en compagnie de Daniil Trifonov. Avec notamment une magnifique Rhapsodie sur un thème de Paganini.

Le chef estonien était invité à diriger l'Orchestre National de France dans un programme russe : Symphonie n° 1 de Rachmaninov et Symphonie n° 6 de Chostakovitch.

L'Orchestre Philharmonique de Radio France très en forme en cette rentrée comme en témoigne ce concert avec Vasily Petrenko à la direction et le pianiste Behzod Abduraimov. Un plaisir pour le spectateur.

Good, bad, but never ugly, a curious evening unfolds at the Barbican, inspired at times, ill-judged in places.

Rachmaninov’s First Symphony is brought vividly to life in a new performing edition by John Wilson and the Sinfonia of London in an electrifying concert at The Glasshouse.  

Bernstein, Chindamo and Rachmaninov bring an evening of jazz-inspired music from the streets of New York to a deeply personal Russian symphony. 

 After a delightful opener by Suk, Simone Lamsma wows in stunning Sibelius with the RLPO before Rachmaninov's ill-fated, dramatic First Symphony completes the programme.

Yannick Nézet-Séguin and The Philadelphia Orchestra don't quite have the measure of Rachmaninov's dark First Symphony, but Daniil Trifonov once more dazzles in the Paganini Variations.

A new work by Clarice Assad, featuring Principal Bassoon Daniel Matsukawa and Yannick Nézet-Séguin, comes sandwiched between impish Berio and complex Rachmaninov.

Dame Sarah Connolly brings passion and depth to rare orchestral songs by Dora Pejačević and Alma Mahler. 

Chailly's energy and vitality is inspirational on his return to Amsterdam for an all-Rachmaninov concert. 

David Robertson's program combines a passionate and multilayered account of Bartók's Second Violin Concerto with early, rarely played works by Ligeti and Rachmaninov that challenges assumptions about their composers.

With the LPO it's always good to expect the unexpected. Two contemporary pieces including a vibrant clarinet concerto pave the way for a neglected Russian masterpiece.

La Orquesta Sinfónica de Galicia y su director titular Dima Slobodeniouk ofrecieron en el Coliseum la Primera sinfonía de Rachamaninov y el estreno, protagonizado por el trompista Stefan Dohr, del concierto de Abrahamsen.

In a performance that brought to mind Jacqueline du Pré, Camille Thomas helps us fall in love with Elgar's Cello Concerto all over again.

The fast-rising Italian pianist Beatrice Rana offered a triumph of technique, but her playing lacked much emotional engagement or wit.

Thomas Søndergård and the RSNO with a beguiling performance of Ravel’s Schéhérazade from Catriona Morison, vivid Peer Gynt from Grieg and a vibrant Rachmaninov’s First Symphony

An animated performance of Tchaikovsky’s Violin Concerto from Radulović along with a gripping account of Rachmaninov's First Symphony makes for a splendid night of Russian fire with the BSO. 

Warhorse (noun): creaky old classic played by orchestras in their sleep at least once a season.  There was absolutely no snoozing, however, through Alice Sara Ott's startling performance with the Philharmonia.

The Ravel G major piano concerto is in fact a mind-bogglingly virtuosic pianistic endeavour requiring fingers of steel and trills of satin.

La OSPA y Milanov apuestan por dos estrenos para acompañar la Primera sinfonía de Rachmaninov

Neeme Järvi led the New York Philharmonic with pianist Daniil Trifonov in an all-Rachmaninov program.

This evening’s programme could have been designed to play to Valery Gergiev's strengths in Russian repertoire… yet also displayed characteristic flaws.

The London Philharmonic Orchestra’s Rachmaninov Inside Out festival continued with a performance of the Russian composer’s Symphony no. 1.

Anyone looking for an evening of calm, reflective music would find they’d come to the wrong concert. It was rather like being granted a masterclass in how to represent the infinite nuances suggested by the performance direction “fortissimo”.

In memory of violist Coen van der Heide who passed away earlier in October, the Rotterdam Philharmonic opened with the second part of Antonín Dvořák’s Serenade for Strings, which was deeply moving and followed by a minute of silence. Ottorino Respighi’s Fontana di Roma was the first piece on the official program.

The Moscow Philharmonic Orchestra enjoyed an evening of youthful exuberance in the Bridgewater Hall with an all-Russian programme, conducted with grace and refinement by Yuri Simonov.Modest Mussorgsky’s Night on the Bare Mountain explicitly paints what the composer called “Spirits of darkness...and the Black Mass” in a progressively wild orgy before the bells of dawn break the scene.