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Sommets Musicaux de Gstadd opens with a programme of beautiful music and a pair of fine soloists, but a concert somewhat let down by a lack of rapport between soloists and orchestra.
The Northern Lights Festival takes place in Tromsø, Northern Norway, at the end of January each year. It is predominantly a classical music event, although that forms the core of what is always a very diverse offering, with plenty of jazz and popular music in the mix too.
Magnus Lindberg's first work for solo voice proves an important new contribution to the genre, while Debussy, Wagner and Scriabin lack magic.
It may have been an absolutely freezing night in Poole but the BSO treated us to a heart-warming evening of life-affirming music, world-class music-making.
As birthday parties go, this was a damp squib. Alina Ibragimova and Cédric Tiberghien presented eight violin sonatas, of which five were from Mozart's childhood.
San Francisco Ballet’s 2015 season opener at the War Memorial Opera House offers a triple bill of neoclassicism, high drama and joyous celebration.
Bartók's Duke Bluebeard’s Castle makes for an enthralling evening, both in its depth of psychology, its amazing score and in the RPO’s colour filled performance, with stand-ins Sir Willard White and Ildikó Komlósi in fine voice.
In spite of superb performances from the Boston Early Music Festival Orchestra and the two lead soloists, Steffani’s Niobe at the Concertgebouw offers too few inspired moments to make it truly memorable.
Interesting rediscovery of Veracini's first opera, composed for mythical castrati Senesino and Farinelly, and brought to life again by Fabio Biondi and Europa Galante.
Quatuor Ebène delight a Queen's Hall audience with Haydn, Dutilleux and Brahms.
As part of the Festival Hall’s Sunday matinee series, John Wilson programmed three inspirational works by Bax, Walton and Vaughan Williams.
In this production of Andrea Chénier, love, liberty, revolution and death are all ingredients to create strong emotions: with a final ovation for the conductor.
Nina Stemme's domination of the heaviest dramatic soprano repertoire continues with an outstanding Isolde at the Zurich Opera House, ably assisted by Stephen Gould, Matti Salminen, and other notable performers under John Fiore.
On entering the Sam Wanamaker Playhouse at the Globe Theatre, you feel like you are stepping back in time with its painted ceiling, cushioned benches (a modern luxury) and a candlelit bare stage.
Ton Koopman's distinctively lively tempi, coupled with a contagious delight to be making music, has a fairly magnetic effect when conducting Bach's Mass in B minor.
Simon Trpčeski gives us precision and delicacy in a magical Ravel Piano Concerto in G major; fine singing from Karen Cargill can't prevent Ticciati's Mahler 4 from falling flat.
American tenor Brian Jagde is the standout in this Tosca, with just those notes of honey and throatiness that seem to wrap up an orchestra’s sound and deliver the whole package to your front door, no signature needed.
Earnest singing and dramatic insight made Das Rheingold with the Hong Kong Philharmonic a remarkable evening.
A gleeful production of The Marriage of Figaro from Opera North, which makes it hard to imagine any dark side at all to the comedy.
Marie-Nicole Lemieux tackles Saint-Saëns' Dalila for the first time and exceeds all expectations.
At the Concertgebouw in Amsterdam a performance of Michelangelo Falvetti’s recently unearthed gem Il diluvio universale was a joyful labour of love.
With such a fine couple as Marianela Núñez and Thiago Soares leading the drama, John Cranko's Onegin touches the heart at The Royal Ballet.
Of all the dance companies I’ve seen in the past year, this is the one I would most like to see over and over again.
James MacMillan has honed his first opera Inés de Castro into an unmissable evening: unspeakably gory but utterly thrilling.
A well-rehearsed and cohesive Bohème in San Diego, although with some vocal disappointments.
The Royal Winnipeg Ballet on tour at the NAC in Ottawa performs Lila York The Handmaid's Tale, an adaptation of acclaimed Canadian author Margaret Atwood's famous book.
Wende Snijders is a master of space and time; she uses everything both physical and emotional to transcend the footlights in the Winterreise Dutch composer Boudewijn Tarenskeen wrote expressly for her.
Dvořák's Violin Concerto featured Concertmaster William Preucil as soloist, and Ravel's orchestration of Pictures at an Exhibition rounded out the program.
Aurelien Bory and Kaori Ito take an experimental leap forward in the use of light, sound and movement. The purpose of this creation is to explore the relationship between the outer, physical body of the dancer and her inner world.
A sparkling new work from John McLeod throws light on the celebration of 150 years of Sibelius and Nielsen.
Despite some outstanding choral work, the State Opera's new production of Boito's popular take on the Faust legend falls short of its heavenly aspirations.
Ballet BC stops in Montreal for the Danse Danse series during their Canadian tour. A.U.R.A / Walking Mad / Petite Cérémonie makes for a fantastic triple bill in which to show off the company's strengths.
As a last-minute replacement, Martin Helmchen courageously stepped in to perform Mozart, while veteran Herbert Blomstedt returns with a moving Pathétique.
Benjamin Grosvenor presented a fascinating programme of works, demonstrating a profound musical intellect.
Vladimir Jurowski is a wily programmer. Pairing a concert performance of Rachmaninov's The Miserly Knight with extracts from Das Rheingold seemed a shrewd move.
A clever programme of mid-20th century American music by Carter, Copland and contemporaries, watered down with a light sprinkling of Arlen and Gershwin.
Gustavo Dudamel and the Simón Bolívar Symphony bring Beethoven and Wagner to Madrid and fill the hall with vitality.
Nadezhda Batoeva , a younger generation ballerina at the mariinsky, excels as Cinderella, in an otherwise disapointing production, performed here at BAM , New York City.
Director Michieletto’s playful staging, Stefano Montanari’s expressive conducting and stylish singing from a cast of seasoned Rossinian singers make for a thoroughly enjoyable new production of the too rare Il viaggio a Reims at the Dutch National Opera.
Where lies the boundary between musical performance and performance art? With more and more musicians choosing to incorporate digital or multimedia elements into their performances, concerts are increasingly defying easy categorisation.
Bach's St John Passion thrills the audience at Valletta International Baroque Festival.
Sunday night is fiesta night, or so it seemed at the Barbican, where the London Symphony took us on a whirlwind tour from Seville in Andalucia to the Asturias.
Iván Fischer has distinguished himself as a conductor with inimitable listening skills; he truly has an ear for which sounds should be coming from where and how the sounds of each member of the Budapest Festival Orchestra should be arranged in space.
An intriguing combination which mixes up together the exuberant sensuality of Granados’ one-act-opera, the gloomy shades and the melancholy liturgy of Suor Angelica.
Both the music and the plot are heavily revised in Nunes' imagining of Rossini's final opera. But great performances and a coherent concept earned this unusual production a well-deserved standing ovation.
Intelligent and arresting Dvořák, warm and confident Humperdinck from Rory Macdonald's debut with the LPO, marred only by disappointing Chopin.
A perfect opera for students? Young singers and a stylish production of Le nozze di Figaro strike the balance between serious and comic.
New York Philharmonic under its music director Alan Gilbert delivered an impressive performance of Verdi's famous Requiem, with an excellent ensemble of soloists and chorus.
Tonight's setting of Die Soldaten in a WWI stable is so sordid you can almost feel the rats gnawing. Alvis Hermanis was right to warn in a newspaper interview that we would leave the theatre feeling shocked.
Who would have thought a program of water sprites and revolutions spanning 200 years could be so seamless?