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A deeply satisfying instalment to the LPO’s Rachmaninov series contained two towering masterpieces presented in very different ways – lightness of touch in the concerto and emotional sweep in the symphony.
ENO's revival of Jonathan Miller's 2009 production is musically solid, but falls short of the dramatic intensity achieved in previous years.
Tézier, with his beautifully full, easy baritone sound and reputation for attention to diction is a singer I have appreciated on stage for some time and was looking forward to his rising to the challenge of a solo evening with his audience.
Russian pianist Arcadi Volodos held the audience's attention with live performance at its best, at times eccentric, yet totally captivating and always uplifting.
Judith Weir's music didn't have the pride of place it deserved at this miscellaneous collection of music from past and present Masters of the Queen's Music, presented by the Park Lane Group at the Sam Wanamaker Playhouse.
Des bravos fusaient déjà à l’entrée de Muti sur scène. Plongés dans un Oiseau de feu légendaire, fascinant, évident, puis littéralement soulevés par un bis patriotique chargé de sens et d'énergie, les spectateurs de Pleyel ne se remettront pas aisément de la venue du maestro.
Haydn, Mozart and Brahms provided the perfect menu for the Turner Sims Sunday afternoon tea-time concert given by the Vienna Piano Trio.
Daniel Harding's daring, risky interpretation of Mahler's monumental Ninth Symphony pays off to give an emotionally draining, intense performance.
Der Gürzenich-Chor Köln und die Neue Philharmonie Westfalen erreichen unter Christian Jeubs Führung das gelobte Land.
A fine new edition of Mozart's Requiem recieves its UK première, overshadowed by a trenchant Sibelius Fourth from Opera North under Jac van Steen.
A revival of Chris Alexander's comedy-slanted take on Don Giovanni tames Mozart's subversive opera in Seattle's season opener.
Singapore Lyric Opera’s new production of The Merry Widow, set in 1920s Paris, is weighed down by uninspired directorship.
Hanna-Elisabeth Müller gives a stellar performance of "Das himmlische Leben" to crown Philharmonia Zürich's Mahler 4.
Soon to retire principal ballerinas, Julie Kent and Xiomara Reyes, delivered poignant performances in Alexei Ratmansky's Seven Sonatas along with poetic dancing by Joseph Gorak. Other standouts included solist Devon Teuscher in the Raymonda Divertissements and James Whiteside in Fancy Free.
The much-anticipated San Diego Symphony OPUS event commemorated the Greatest Generation with Maestro Jahja Ling programming works of Leonard Bernstein and Rachmaninoff, composers active during that generation’s era, to bookend excerpts from Bizet’s ever-popular L’Arlésienne Suites.
Where is the line? Where does the stage end and the audience begin? This is what Australian director Barrie Kosky probes in his production pairing Purcell's Dido and Aeneas with Bartók's Bluebeard's Castle.
In an all French language opera progromme, Juan Diego Flórez shines in his Dublin leg of Tour l'Amour
Scottish Opera's La Cenerentola is colourful, fun-filled and packed with tunes. Russian mezzo Victoria Yarovaya shines in the title role.
Hong Kong Ballet presents a very mixed oprogramme , in celebration of their 35th anniversary.
His passing last August was no surprise. Anyone who had witnessed Frans Brüggen conduct in recent years knew that he was far from healthy and old for his years.
Sasha Waltz & Guests restructure body and space, to the Romanticism of Schubert's impromptus.
David Robertson carried the Met Orchestra through one of the most brilliantly-conducted performances I’ve witnessed, though the music itself was not always impressive.
Massive pieces of Tudor polyphony, sung with captivating intensity by The Sixteen and Harry Christophers as their 2014 Choral Pilgrimage comes to Durham Cathedral.
St Andrews Voices was a perfect platform for Roderick Williams and Iain Burnside to exlore the fine line between madness and genuis in a compelling song recital.
The RSNO shine in Strauss' and Bartók's contrasting responses to war, dislocation and loss, Metamorphosen and the Concerto for Orchestra.
Zwei Gluck-Opern in einer gelungen Sonderedition von Torsten Fischer und Leo Hussain. Véronique Gens, Stéphane Degout und Christoph Pohl brillieren ebenso wie die Wiener Symphoniker.
A beautiful and much-put-upon princess, a pair of royal lovers who have never met, a scheming mother, and a pirate who is a prince in disguise: Ottone is a feast of ideas, beauty and fun.
Epic Sibelius and velvety Grieg from Sakari Oramo and Javier Perianes, but Stravinsky that was too neat and careful.
Donizetti's La Fille du régiment brings much needed joy to the Teatro Real, with Javier Camarena's astonishing voice and Aleksandra Kurzak's unapologetic tomboy mesmerising the audience.
In the first half of the 19th century, the piano was still very much a developing instrument, and the composers were often pushing its limits both mechanically and sonically.
Figaro rules the roost on the main stage this autumn, but buried in the Nibelheim of the Linbury Studio, Rossini'ss early comedy La scala di seta receives its first ever production by the Royal Opera.
Konzert mit dem Glockenschlag: In nur einer Stunde präsentiert Marburg elf Werke, neue Klänge und ungewöhnliche Interpreten.
Haitink's Bruckner is begining to show signs of his age, but occasional problems of stamina and focus were of little consequence to this otherwise powerful and authoritative reading.
Alan Gilbert leads the New York Philharmonic with guest pianist Yefim Bronfman in a concert of contrasts: Bartók's Piano Concerto no. 3 and Bruckner's Symphony no. 8 in C minor.
Polish director Mariusz Treliński puts a contemporary spin on Salome by retelling the story from a victim's point of view.
Opera Atelier’s latest production mixes traditional-specific touches the company is known for, and more high-concept inclusions. The results are mixed — but the singing is spectacular.
Chorégraphié en 2001 par la chorégraphe flamande Anne Teresa de Keersmaeker, Rain est une exploration scientifique de l’articulation entre musique et danse qui s’inscrit dans la continuité des ses premiers travaux. La pièce est présentée par le Ballet de l'Opéra de Paris cet automne.
Think of a laboratory and you think of an experiment: quartet-lab's experiments in the Concertgebouw yield refreshing results.
German tenor Klaus Florian Vogt gave a delightful recital of Wagner, Mozart and operatta, aided by excellent playing by Staatskapelle Weimer.
Fellow Frenchmen Alain Altinoglu and Renaud Capuçon make for fine partners in a rare outing for Berlioz's Harold in Italy.
This was a concert that provided the opportunity for so many individual musicians to shine and the Bournemouth Symphony Orchestra’s shone brightly, showcasing its truly amazing talent.
The name George Onslow may conjure up images of whippets, pints and rolling Yorkshire dales, but he was in fact born in Clermont-Ferrand in 1784 and was known as ‘the French Beethoven’.
Igor Levit, ein Meister der leisen, verhaltenen Töne, berührte das Publikum in der Zürcher Tonhalle mit drei Beethoven-Sonaten, einer Partita von Bach und Busonis Fantasia nach J.S. Bach.
The concert, which also featured quartets by Mozart and Brahms, was characterized by elegance and refinement, but also great musical drama.
Slick, surreal and creepy, with a strong cast of exciting young singers: it's hard to imagine a Turn of the Screw better than Glyndebourne's Jonathan Kent version, revived for their 2014 Tour by Francesca Gilpin.
Tao Dance Theatre brings daring and emotional power to Sadler's Wells' stage. Its use of ritual elements is both original and beautiful.
Zabou Breitman brings silver screen glamour to Paris Opera's production of Mozart's Die Entführung aus dem Serail, with the show stolen by Anna Prohaska's Blonde.
Das junge Ensemble des Theater an der Wien konnte in einer gekürzten, kammermusikalischen Fassung des Eugen Onegin zwar nicht restlos überzeugen, bot aber einen interessanten Blick auf Tschaikowskis Meisterwerk.
J. S. Bach wrote hundreds of liturgical choral works, most of them with a strict deadline – the forthcoming Sunday morning church service. Yet the composition (some would argue, the compilation) of the Mass in B minor BWV232 occupied him for many years.
The music was so convincingly Czech and so naturally bucolic in outlook that I was left at the end wishing that we might hear more Dvořák from the Hallé/Elder partnership.