Selected dates: All dates
Gyula Fekete's concerto based on themes from Chinese TV headlines a mixed programme at a concert which didn't succeed in everything but was generously filled with melody throughout.
The fantasy characters prove to be more interesting than the real ones in a Czech treatment of Engelbert Humperdinck's fairy-tale classic.
“the moon has set... I lie alone.” A deeply absorbing new production to the music of Georg Friedrich Haas in the Linbury Studio.
Markus Stenz conducts the Hallé in Mahler's First Symphony, with Simone Lamsma playing Mendelssohn's Violin Concerto.
The London Symphony Orchestra celebrates Boulez at 90 with a compelling performance under his protege Péter Eötvös.
In a thoroughly riveting recital at the Concertgebouw, soprano Anna Prohaska probes Ophelia’s psyche through songs from the nineteenth century onwards.
"Rarely, rarely, comest thou, Spirit of Delight!": Shelley's line was one of Elgar's inspiration for his Second Symphony. Rarely can it have received such an inspired performance.
Handel Singing Competition, which forms part of London Handel Festival, is unique in that the participants sing only Handel in all the rounds.
Superstar Chinese pianist Lang Lang's London concert included some unusual repertoire choices which revealed a more reflective side.
Last night’s concert at the Royal Festival Hall brought together three of the biggest names in classical music, performing two works that are somewhat more mid range in popularity within the repertoire.
Routine took hold of the Teatro Real in its production of La traviata, despite baritone Juan Jesús Rodríguez's best efforts.
Joyful Haydn and intense Schoenberg from Julia Fischer and the Academy of St Martin in the Fields, joined by Oliver Schnyder for some energetic Mendelssohn.
A dark, intense performance of Tchaikovsky's Manfred, the black sheep of his symphonic canon, is the highlight of Vladimir Ashkenazy's latest concert with the Philharmonia.
The Borodin Quartet’s played two Shostakovich quartets, as well as Beethoven Op.131. From the very first notes onwards they captivated the audience with their elegant and well-balanced sound.
Doug Fitch masterminds a splendidly inventive multimedia rendering of Petrushka, ably supported by Alan Gilbert and the NY Phil.
Disappointing Mozart compensated by a lively new work by Fazil Say in Heidelberg.
Despite its happy ending, Vincenzo Bellini’s last opera I puritani is a 19th century opera permeated by deathly shadows, disenchantment, fading of love and sentiments forced or burdened by political intrigues.
With an uncertainly looming, the San Diego community rallied behind its beloved opera company to rescue, resuscitate and revamp while celebrating 50 years of commitment to the arts.
Kasper Holten's production of Carl Nielsen's delightful comedy Maskarade delights in Copenhagen.
Andrea Marcon leads La Cetra Baroque Orchestra and a group of accomplished soloists in an elegant and sensuous performance of Vivaldi's pastoral opera at the Concertgebouw.
The Cleveland Orchestra under guest conductor Lionel Bringuier perform two Ravel works, the Saint-Saëns First Cello Concerto with Gautier Capucon, and the brilliant La tragédie de Salomé by Florent Schmitt.
Neo-Romanticism, Modernism, and Post-Modernism run delightfully amok in the second night of the New York Philharmonic's Barbican residency.
Donald Runnicles leads the Deutsche Oper Berlin in Sasha Waltz's production of Berlioz's dramatic symphony.
Opportunities missed to exploit dynamic contrast in Xian Zhang's Roman Festivals with the Hong Kong Philharmonic.
Grand Holst and the première of Mark Bowden's A Violence of Gifts, performed with bombastic gusto and colour.
The New York Philharmonic lack the 'wow' factor in Salonen, Ravel and Strauss at the Barbican.
The Royal Danish Opera's new production of Carl Nielsen's first opera Saul og David updates the action to the present-day Middle east and, while well-sung, comes off as overly simplistic.
L'Arpeggiata fascinate, amuse, move to tears - in not even two hours.
Emerging artists to the fore as each of these two-handers engage us in differing exposés of puzzles, one comic, one tragic.
In front of an enthusiastic Montréal crowd, Yannick Nézet-Séguin led his orchestra through the varied atmospheres and moods of works by great English composers of the early 20th century.
In collaboration with the Württembergisches Kammerorchester and the University of Music Stuttgart, Heilbronn Theater created a production whose young protagonists knock the audience off their seats.
Considering its French title, Sir Frederick Ashton’s ballet La Fille mal gardée is quintessentially English. Laura Morera and Vadim Muntagirov brought the bright spring sunshine from outside to flood the auditorium in delightfully sunny performances.
An esoteric Nyx, an alluring Shéhérazade and a rollicking Rosenkavalier: the NYPO impress.
Tanztheater Wuppertal Pina Bausch brings a 1984 work to London for the first time: Auf dem Gebirge Hat Man ein Geschrei Gehört (On the Mountain a Cry Was Heard).
The YAGP Gala showcases young dancers who will go on to lead the world's ballet companies.
“More facility than substance”: perhaps an apt description of the music of Ottorino Respighi. Certainly on the evidence of last night’s concert, featuring the three ever popular Roman tone poems, one could have been left with that impression, but we had a thoroughly good time in the process.
Royal Northern Sinfonia and their Music Director designate Lars Vogt brought the idyllic side of Romanticism to Sage Gateshead last night, revelling in luxurious textures and melodies that sang of happy, fulfilled love for family.
For the third concert of their 2015 Premier Series, the Auckland Philharmonia Orchestra under Musical Director Eckehard Stier presented "Out of this World", a varied programme of Bach, Dutilleux and Shostakovich.
The Paul Taylor dance company presents 10 pieces at the Yerba Buena Center, incuding the 1978 Diggity which is refreshingly simple in its movement, with a dollop of dearness and a dash of the absurd.
Sir Mark Elder conducts the Hallé in a concert to celebrate the 500th anniversary of Manchester Grammar School, with Holst's Planets alongisde O'Regan's Celestial Map of the Sky.
Khachaturian’s innate gift for melody and Dvořák’s penchant for grandeur and drama led to an evening of sumptuous and exciting music-making from the BSO.
Elina Garanča was alluring in a lovely recital of Brahms, Duparc and Rachmaninov with pianist Malcolm Martineau.
A pairing of a concerto and symphony from two giants of the nineteenth-century in sensitively shaped performances.
Helene Grimaud's recital inside Disney Hall mucially captures and captivates nature's terrene elements with a balance of aqueous colouring and deeply grounded terra firma.
The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.
Christoph Marthaler's eagerly-anticipated UK debut at the Royal Opera House makes for a confusing first date – but we still leave wanting a second.
J.C. Bach's opera Adriano in Siria, set to a popular libretto by Metastasio, was first performed in London in January 1765 when the nine-year-old Mozart was in town.
“Acting is the expression of a neurotic impulse. It’s a bum’s life,” stated the late, great Marlon Brando. Felix Breisach took this idea to heart when staging his modernized Figaro in a mental institution.
A daring programme of 57 preludes by Chopin, Scriabin and Fauré by Louis Lortie in Sydney.
The much-hyped casting of Misty Copeland and Brooklyn Mack in Washington Ballet’s Swan Lake enticed a remarkably young, diverse and hip crowd into the Eisenhower Theater at Washington's Kennedy Center.