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A feast of Strauss and Elgar delights all in Prom 19, featuring Vasily Petrenko, Inger Dam-Jensen, and the Royal Liverpool Philharmonic Orchestra.
David McVicar's Don Giovanni for Opera Australia takes its cue from the brutally grim opening of the opera, yet remains true to Mozart’s own description of a “jocular” work (dramma giocoso).
With murky machinations in the low strings and piercing, vivid woodwind solos above, Harrison Birtwistle’s Night’s Black Bird and Ravel’s Piano Concerto for the Left Hand in D major have surprisingly similar openings.
These wonderfully original works were performed with style and precision however the sound quickly disappeared into the rafters of a mostly empty Royal Albert Hall.
For once, the musical menu was a good deal more sultry than the temperatures in the Royal Albert Hall as the Borusan Istanbul Philharmonic made a notable debut in a programme full of what Rudyard Kipling may well have described as “more-than-oriental splendour”.
A fine cast and a traditional staging of a beloved classic results in a memorable night at the opera.
Guillem and Maliphant's nuanced artistry and brilliant inventiveness bring the London Coliseum audience to its feet.
A powerful rendition of The Greatest love Story of all times...' For never was a story of more woe,Than this of Juliet and her Romeo'
As the majestic horn calls echoed around the vaulted ceiling and full orchestral tuttis shook the very walls, Mahler brought the very heart of Christianity to Worcester's magnificent Cathedral in his truly remarkable “Resurrection Symphony”.
Carl Philipp Emanuel Bach is often described as a crucial composer in the transition between the Baroque and Classical periods, but we never seem to be able to move beyond this image.
A new opera by Alison Croggon and Michael Smetanin on the Soviet poet Mayakovsky is an intense experience in the production by Sydney Chamber Opera under Jack Symonds.
Ravel and Dove complement each other, but Mozart sits oddly out of place in the BBC Symphony Orchestra's latest Prom.
Martin Kušej’s modern production of La forza del destino emphasizes that familial and religious oppressions can be one and the same, destroying the love of free spirits.
67-year-old diva Edita Gruberova presents a devastating portrayal of a desperate mother supported by a strong cast in a stark modern production.
Thierry Fischer and the BBC National Orchestra of Wales presented an eclectic programme, with an exciting première by Simon Holt and the many different facets of 20th century French orchestral music.
A revival of the Italian version of a Baroque masterpiece by Lully was delivered in Palazzo Ducale in Martina Franca.
Eva-Maria Höckmayr's brilliantly unsettling double vision of Tannhäuser sees our hero both being, and watching himself being overwhelmed by psychic anguish, appalled at the futility of pleasure, and tortured by his savage envy of salvation.
A kids’ TV format transferred to a Proms concert offered plenty of entertainment for the target audience, but precious little music.
Unter dem Motto „Bach +“ der diesjährigen Heidelberger Bachwoche stand auch das Konzert „Flow my tears“, in dem das Ensemble Riverberi Werke Johann Sebastian Bachs denen seiner englischen und italienischen Zeitgenossen gegenüberstellte.
Surreal floating magic from Aracaladanza surprises and delights at the Queen Elizabeth Hall.
The Festival della Valle d'Itria opened with a 20th century opera of some musical value, but of much more historical and philological interest for scholars.
From the insistent, driving opening to the sublime transcendence of the closing chorale, Norrington, the Zurich Chamber Orchestra and James Gilchrist give us a St John Passion to remember.
As Britain prepares to celebrate the centenary of World War One, Britten's War Requiem brings a remarkable start to the Worcester Three Choirs Festival.
This outdoor piece wasn’t just about nature; it took place in nature. The rumbles of bass drums and timpani mingled with the delicate sounds of the wind rustling through the trees and stones being scraped together by musicians.
Notable for its excellent instrumentation, Possession! interleaves two letter-writing couples in (doomed) love, but despite everyone's best efforts, largely fails to get off the ground.
How would the Choir of King's College, Cambridge cope in the difficult acoustic of Sydney Opera House? Under the direction of Stephen Cleobury, they delivered a polished programme.
Josh Spear's intriguing and technologically ambitious production dramatises the abdication of Edward VIII and his life with Wallis Simpson in three largely theatrical scenes which impress, but becomes the victim of dire technical problems.
La lotta d’Ercole con Acheloo has never been performed in Italy before, so this production sheds light on both Steffani's work and on this Festival's high quality.
It was an evening for showing off. The Basel Chamber Orchestra (being Bartoli and Scholl’s frequent partners) performed Bizet and Rameau, plus a Mozart concerto with conductor Christian Zacharias directing from the piano.
Anna Pool's gorgeous retelling of a traditional Norwegian folk tale makes for an original, witty, charming opera... with a singing polar bear who will surely steal your heart.
Mixing beautiful recorded soundscapes of the wild shores of Sutherland with Celtic harmonies, including harp, bells and bagpipes, Lucie Treacher's refreshing portrait of her Highland community shows promising talent for the future.
Avec son programme O ,le San Francisco Ballet nous propose un parcours chorégraphique émaillé d’œuvres désormais inscrites dans la tradition de la danse et de chorégraphies plus récentes.
The BBC Philharmonic's chief conductor Juanjo Mena and violinst Tamsin in an astonishing performance of Moeran's Violin Concerto. Mena also brings his own interpretation of Elgar's Enigma Variations.
At the heart of New Opera Singapore is a desire to demystify opera for Singapore audiences.
The Detroit Symphony triumphantly returned to its summer home tonight after many years away, ending the 2013-14 season with a flourish.
Martin Lloyd-Evan's highly sensitive production features a show-stealing performance by Richard Burkhard but is marred by problems of orchestral balance.
Oliver Rudland's new opera based on Golding's novel Pincher Martin, receives its première at the Royal College of Music.
Valery Gergiev and the LSO present a concert of two halves: an awkward Brahms Piano Concerto, but a thrilling Janáček Glagolitic Mass.
Pale ghostly faces, flowers in heaven and a spell binding Christian Gerhaher: Munich celebrates Monteverdi's Orfeo.
Since its world première at the Huddersfield Contemporary Music Festival 20 years ago (in collaboration with Opera North), H.K. Gruber’s short theatre-piece Gloria von Jaxtberg has racked up almost 70 performances in Britain, Austria, Germany, and the USA.
With so much focus - understandably - on London's concerts during the Proms season, it is a delight to be able to listen to and attend various other related performances across the UK.
The BBC Symphony Orchestra première the first of two late works by John Tavener this Proms season and Isabelle Faust excels in Bartók and Bach.
For the first time in the Proms' history, the programme for the first of this season's Late Nights included the premiere of A Man from the Future, a groundbreaking new piece about codebreaker Alan Turing.
Week two of the Bolshoi Ballet's New York engagement featured the effervescent Maria Alexandrova as Kitri in a mostly successful Don Quixote. Alexandrova and Lantratov (as Basilio) lit up the stage of the Koch Theater (Lincoln Centre Festival, New York)
Glyndebourne’s annual away day from Lewes to the heaving metropolis is always a highlight of the Proms season, but this year’s visit was more hotly anticipated than usual.
A disappointing programme of choreography that fails to sublime the New York City Ballet principal's talents.
Once you've seen Victorian Opera’s new production of Stephen Sondheim’s Into the Woods, it's unlikely you'll ever get it out of your head. It’s Melbourne’s current “anti-musical”, quietly intoxicating the audience with infectious force.
After 19 years, David Zinman took his leave from the post of music director of the Tonhalle Orchestra Zurich yesterday with an affectionate Proms programme of Strauss, Dvořák and Beethoven.
This year we are celebrating the 250th anniversary of Rameau’s death and the BBC Proms has invited French Baroque specialists Les Arts Florissants to give a pair of contrasting concerts of his music.
This was the first time I've been to a concert with a 10:30 kick-off, but then this was the first of its kind. Nor did the inaugural Sport Prom turn out to be merely a game of two halves...