This past weekend, especially Sunday afternoon and night, brought me some prime opportunities to see again about why we should hear music performed live, and not just listen to recorded music.

Sure, there's nothing wrong with recorded music. In fact a lot of it is downright great. And much of it is preferable to poor live performances.

But when music is performed well, there is nothing like it.

The first concert I heard this weekend was pianist Emanuel Ax's performance with the Madison Symphony Orchestra in Overture Hall. He played the Chopin Piano Concerto No. 2, a youthful work that is filled with longing.

The orchestra, under the baton of John DeMain, provided a perfect accompaniment that was nuanced and balanced, understated and poetic.

Subtlety was what was needed, and subtlety was provided in abundance. (The MSO also turned out superbly disciplined, colorful and powerful performances of DeFalla's Suite No. 2, from "The Three-Cornered Hat," and especially Ralph Vaughan williams' massive "London" Symphony.)

But the heart of the MSO concert for me, a avowed piano fan, was Ax (whose picture by J. Henry Fairfax is at the top). The quicksilver fleetness of the notes, the delicacy of the articulation and lightness of the touch, the rich tone, the lyrical legato - it all made for an experience that was memorable and nothing short of extraordinary.

That was Sunday afternoon.

Then on Sunday night, only hours later, I went to a performance by legendary American mezzo-soprano Frederica von Stade (below right) at the Wisconsin Union Theater.

Von Stade, who performed with pianist Martin Katz, did an unusual and very appealing program arranged by themes (roses, Paris, children, religious, shady ladies) that featured Schubert , Richard Strauss, Ned Rorem and others but was also heavy on French fare, a welcome offering to Francophiles like me, with works by Poulenc and Faure, two of my favorites.

To be honest, von Stade's voice is past its superb prime, which comes as no surprise since she is over 60.

But she still sings very, very well and boy, does she connect with the audience - which included that night none other than the pianist Ax, who had performed only hours earlier and who said during intermission he was quite taken with how von Stade worked the crowd and interpreted the music.

She had chosen the right songs and she delivered the goods.

Now, I'll admit that I'm not the biggest fan of song recitals. I can do without the outstretched hands and arched eyebrows and dozen other more or less typical gestures that pass for expression and, to me, become distracting after a while.

I go to hear the music and the texts, but mostly the music. I don't go to be convinced of anything or to feel I'm in an intimate conversation with a friend.

However, when performers have that special talent to project from the stage right back to the far balcony, you know it, you feel it, you love it.

And von Stade had that gift in abundance.

That is not something you hear on a recording.

Both artists, the pianist Ax and the singer von Stade, have won numerous Grammys and other international awards for the dozens and dozens of recordings they've made.

But I think it is fair to say that none of those recordings will linger with me, and I hope with you, as long as the two live performances on Sunday will.

Were you at one of Ax's three performances? What did you think?

Did you hear von Stade's recital? What did you think of her and her program?

And what thoughts do you want to share about live versus recorded classical music?

Let Art Talk and its readers know.