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Amsterdam has an outstanding history for Mahler performances, but this fine Ninth from Iván Fischer and his Budapest Festival Orchestra lived up to all this history.
La Grande Chapelle retireves music from the New World to perform in Spain. A commendable effort, but it fell short of meeting the performance standard required in this repertoire.
Pieter Wispelwey engaged his Wigmore Hall audience with explanatory talks during this concert devoted to Britten's Cello Suites.
Scottish Ensemble’s “Nordic Nights” programme at St John's Kirk in Perth was lively and passionate mixing old and new pieces.
Gaetano Donizetti’s L’Elisir d’Amore is perhaps one of the most delightful operas ever written; full of romance and comedy underpinned by a witty and charming score makes it the perfect light-hearted entertainment. The RNCM presented an excellently compelling production.
Simon Keenlyside and Graham Johnson's concert at the Vienna Konzerthaus featured songs by Schoenberg and his pupil Hanns Eisler, as well as Britten, Wolf, Schubert and Brahms. These consummate artists made a difficult program seem easy to perform and even easier to listen to.
Cirque du Soleil producer Franco Dragone's new Aida for the Teatro di San Carlo in Naples aimed to scrub off all the bombast from this triumphalistic work. The eccentricities of the production led to a poor-quality outcome, though there was some fine singing.
As part of the last full weekend of Southbank Centre's The Rest is Noise festival, Vladimir Jurowski and the London Philharmonic Orchestra presented a programme of British orchestral music from the 1990s.
The Kronos Quartet celebrated its 40th birthday on Friday. In Berkeley's Zellerbach Hall, the ensemble explored its history with a performance of Black Angels but also offerred a few surprises.
Margaret Willis reviews The Royal Ballet's Romeo and Juliet, starring Carlos Acosta and Natalia Osipova at the Royal Opera House, London.
The Ballet de l’Opera de Paris perform lust and love in Angelin Preljocaj's Le Parc at the Palais Garnier, Paris.
Nanine Linning’s Zero is a vision of an apocalyptic future that thrilled the audience at the Stadtstheater, Bern. Reviewed my Katja Vaghi.
Like Falstaff, I found myself attempting to gobble up as much as I could: the amusing story, Robert Carsen's resourceful directing, and the brilliant music. In addition to the strong instrumental performing, the singing was, on the whole, delightful.
The grand finale of this year's Montreal Bach Festival was the Mass in B minor with the Orchestre Symphonique de Montréal and Kent Nagano, joined by an impressive set of soloists.
The London première of Georg Friedrich Haas' cult phenomenon in vain was given as part of Southbank Centre's The Rest is Noise festival, by London Sinfonietta and conductor Emilio Pomàrico – a rhetorically brilliant performance.
Budding young choreographer and ex-Rambert dancer Renaud Wiser presents two dynamic, experimental pieces, his choreography bearing the hallmark of his dancing experience. Catherine Sutherland reviews the world première of Metropolis at Rich Mix.
There is not much in common between the symphonies of Schubert and Shostakovich, but tonight La Verdi drew together two more rarely heard examples of these works under a theme of “turning points”.
Pia Savoie reviews L'Embarquement by Pour Corps et Lumière performed at Mainline Theater in Montreal.
Giasone was the most performed opera of the 17th century, but this was no dry, reverent exhumation. This was something much better from Pinchgut Opera: a joyous, animated resurrection.
Carla Escoda reviews the world première of Scott Wells' and Sheldon B. Smith's Father On at the ODC Theater in San Francisco.
Nelsons impresses in Brahms' Third Symphony with the CBSO, while Isabelle Faust's account of Britten's Violin Concerto may have been a work in progress rather than the finished item.
Calixto Bieito's The Tales of Hoffmann at the Norwegian National Opera contains some very effective and at times striking moments, but the production turned out something of a disappointment overall.
A concert of music from the beginning of the 20th century with Pons and the BBCSO, including a performance of music by neglected opera composer Franz Schreker.
Maria João Pires plays Beethoven Piano Concerto No.2 with the Vienna Symphony Orchestra and Adám Fischer. Haydn and Mozart top up a Viennese evening.
This double bill from Shobana Jeyasingh spans 25 years of her career, from early success Configurations to the world première of Strange Blooms. At Southbank Centre's Queen Elizabeth Hall.
Jaime Robles and children in the audience review Birmingham Repertory Theatre's The Snowman at the Peacock Theatre.
New York Polyphony brought Dallas residents a refreshing interlude to the post-Thanksgiving consumerist madness, with a recital of Christmas music old and new.
Maxim Vengerov began his residency with the Oxford Philomusica with a chamber recital accompanied by the orchestra's director Marios Papadopolous. This passionate concert was delivered with panache and a smile.
Soloists from Samling Scholars and Samling Academy join Royal Northern Sinfonia and Chorus for this year's performance of Handel's Messiah at Sage Gateshead.
Auckland Chamber Orchestra’s stunningly played “Voice of the Whale” concert featured 20th-century and contemporary works, including pieces by George Crumb, Michel van der Aa and John Adams.
Philip Herreweghe directs Schütz' Psalmen Davids with Collegium Vocale Gent at the Amsterdam Concertgebouw, in a performance of sustained power and feeling.
Continuing their Shostakovich cycle, the Mariinsky Orchestra and Valery Gergiev brought the Fourth and Ninth Symphonies to the Salle Pleyel, as well as the Concerto for Piano and Trumpet, with pianist Daniil Trifonov.
Ailyn Perez, Stephen Costello and Simon Keenlyside star in Verdi's La Traviata at the Deutsche Oper Berlin.
At the Komische Oper Berlin, West Side Story has some incredible highlights, but leaves a few too many whys to be wholly enjoyable, with some curious production details.
An authoritative account of Bach's music for Advent from Jos van Veldhoven and the Nederlandse Bachvereniging in Amsterdam.
A small company with big ambitions, Ballet Cymru’s latest work, Romeo and Juliet, is another triumph for this determined company.
Marin Alsop leads the Cleveland Orchestra in Schumann's Piano Concerto with soloist David Fray, as well as Samuel Barber's Second Essay and a dramatic reading of Aaron Copland's Third Symphony.
The Royal Swedish Opera's Salome, directed by operatic first-timer Sofia Jupither, is dramatic, and its strong directorial concept does not get in the way of the story. Nina Stemme sings astoundingly, and gives a nuanced portrayal of the title character.
Jun Märkl, Ran Dank and the Kansas City Symphony played Chopin and Berlioz in Helzberg Hall, Kansas City, Missouri. This is an institution the city has built out of pure love for music, and its success is well deserved.
Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.
Marie-Nicole Lemieux and Yannick Nézet-Séguin score personal triumphs with l’Orchestre Métropolitain in their first concert together in thirteen years.
This opera gala saw the Borusan Istanbul Philharmonic Orchestra mark their 15th anniversary with an unforgettable evening. The BIPO were joined by tenor Roberto Alagna, making his Istanbul debut, and mezzo-soprano Roxana Constantinescu, a rising star.
Daniel Harding and the London Symphony Orchestra again paired Schubert with a late Romantic, this time Richard Wagner, and the second act of Tristan und Isolde. The orchestra were on a form it would be hard to match.
Mark Morris Dance Group present an excellent Programme B (with the dazzling Festival Dances) at London Sadler’s Wells.
The Lautten Compagney performed Handel's Rinaldo at the Amsterdam Concertgebouw enjoyably, though without sweeping the audience off its feet.
Every city has its favourites, and Jan Lisiecki is Montreal’s darling. There was a sense of proprietary pride in the audience as he strode across the stage at the Maison Symphonique, to join Kazushi Ono and the Orchestre Symphonique de Montréal.
In her curated evening at Sadler's Wells, Laura Dajao takes a closer look at what it means to dance.
The Mark Morris Dance Company at Sadler’s Wells: Greek Tragedies and other visual counterpoints with plenty of references to dance history, all served with a delicate ironic touch.
With composer James MacMillan in attendance, this Edinburgh Quartet concert confirmed that the group has audience attraction and engagement at its core.
Southbank Centre's The Rest is Noise festival continued its focus on politics and spirituality with Henryck Górecki's popular Third Symphony, coupled with Krzysztof Penderecki's lesser-known Violin Concerto – but it was the latter work which fared better.