Selected dates: All dates
As part of the Philharmonia's City of Light series, the Gould Trio performed two Impressionist Piano Trios around two contrasting French Duos.
Antonii Baryshevskyi, winner of the Arthur Rubenstein Compeition, made an impressive Wigmore Hall debut in a performance which combined pristine technical facility and consummate musicality in a challenging and highly varied programme.
The Vienna Philharmonic, the Westminster Symphonic Choir, Diana Damrau and Christian Gerhaher present a sublime Brahms Requiem on a snowy Sunday afternoon.
Cloud Gate Dance Theatre's rice as seen in Singapore is a mixed evening of both sublime beauty and unresolved tensions.
At very short notice David Hill stepped in to conduct an all-French programme with the London Symphony Orchestra where serenity, elegance and passion were all beautifully communicated.
Sir András Schiff delights Vancouver in the nuances of late sonatas by Haydn, Mozart, Beethoven and Schubert.
In a very silly production of Rossini's La Cenerentola at the Staatsoper, the cast takes a while to warm up, but are irresistably charming in full form.
Chelsea Opera Group presents the strongest case imaginable for Massenet’s Le Roi de Lahore, with Michael Spyres, no less, as the King.
Director Trevore Ross emphasized the silly and the madcap in Beaumarchais’ hectic plot to The Barber of Seville. The audience loved it.
The Vienna Philharmonic, under the direction of Maestro Daniele Gatti, perform impressive accounts of Brahms’ Second and Fourth symphonies.
Segerstam elicits oustanding playing from the BBCSO in an immense Bruckner 8, preceded by the BBC Singers exquisite Bruckner motets.
Scottish Opera's imaginative Orfeo ed Euridice is a well sung wild visial feast with added dancing thrown into the mix by Ashley Page.
In a diverse programme consisting of Haydn and Pärt, Stephen Layton impressed with his choir Polyphony, while the Britten Sinfonia performed a fine rendition of Shostakovich's Chamber Symphony.
Composer David Lang joined the ensemble in Oberlin for an invigorating night of fresh ideas played with a spirit of adventure.
San Diego’s Copley Symphony Hall resounded with the noble key of C major via Mozart and Schubert.
A perfect cast and great conducting make the Bayerische Staatsoper's Die Walküre thrilling and memorable.
Cage hoped that the change from “pinch-penny mental attitudes to courageous wastefulness” would become as prevalent in the arts as it is in nature. Along those lines, his late choral music is spare, seemingly simple: quiet, almost fragile sounds scattered over silences.
The Jerusalem Quartet offered a compelling rendition of works by Mozart, Bartók, and Schumann in the University of Chicago's Mandel Hall.
Unsuk Chin's opera Alice in Wonderland is performed by the Los Angeles Philarharmonic, conducted by Susanna Mälkki. This is no Disney movie!
A safe performance of Poulenc's extraordinary opera in Washington, lacking in pity and terror.
Take an exquisite production of a Puccini tearjerker, cast it attractively… then crush its fragile wings under the weight of the Albert Hall’s vastness.
In Peter Sellars' reconstruction of Purcell's unfinished semi-opera The Indian Queen, fine vocal performances are spoilt by indifferent staging and choreography and an embarrassing retelling of the Conquistador story.
Jerome Robbins’ note to himself during the making of Dancers at a Gathering reads, "Never make up a step. Always make a sequence of movement.”
This is not a story about a prince or princess; there are no fairies, no spells, no swans. And yet it is an entirely enchanting story...
Bringing together disparate art forms is no easy task, as Tafelmusik's latest concert House of Dreams sadly proves.
Rich gifts of from the distinctive OAE, with Vikoria Mullova adding austere authority to Brahms and Ádám Fischer bringing out all the colour in Dvořák's “New World” Symphony.
Vasily Petrenko and the Oslo Philharmonic give an at times searingly intense and ultimately triumphant performance of Mahler's Tenth Symphony.
Based on Alexandre Dumas' La Dame aux Camélias the tragic love story that inspired Verdi's La Traviata, Ashton Marguerite and Armand ballet for the Royal Ballet, as well as the 2001 film Moulin Rouge, Val Caniparoli's Lady of the Camellias, danced here by Boston Ballet is a beautifully orchestrated, and heartbreaking production.
This concert, in a nifty piece of skilful programming, comprised a Beethoven sandwich, with Penderecki’s Fourth Symphony as the filling, both composers who clearly enjoy pushing the boundaries of classical form.
Last night’s performance, the second after a serious casting face-lift held to that tradition, and was very well received despite its inherent flaws, thanks to some very fine singing.
B Tommy Andersson's music promises more than it delivers in this showcase concert with the BBC National Orchestra of Wales.
The revival of Pierre Audi’s production of Handel's Alcina at the Amsterdam Stadsschouwburg is blessed with an excellent cast, led by Sandrine Piau who gives an unforgettable performance as the sorceress.
Paul Lewis gives a magnificent rendition of the last three sonatas by Beethoven in Dublin.
The Zurich Chamber Orchestra gave a riveting programme of Bach and Vivaldi at the Tonhalle, featuring soloist Daniel Hope.
Erico Montes' Dances for 1,2,and 3 with Akane Takada dominates the eveining, while Marcelino Sambe gives the audience a song to remember.
The staging of Pierre Audi’s production of Handel’s Tamerlano at the Amsterdam Stadsschouwburg is all understated elegance, well matched by Les Talents Lyriques’ refined playing.
Ivo Pogorelich returned the London stage after an absence of 15 years in a concert comprising big, popular works of the standard repertoire, which tested the pianist’s technical and interpretative skills to the limit.
Mauricio Sotelo's world première based on El Público, a fascinating surrealist play by Federico García Lorca, mixed flamenco and tragedy to achieve a great night of opera.
San Francisco Ballet's Program 3 explores the boundaries of classicism, from both ends, with La Bayadère's 'Kingdom of the Shades' , and neoclassical works from Hans van Manen, William Forsythe and Myles Thatcher.
John Woolrich's Songbook project provided the vocal material on show at the Birmingham Contemporary Music Group recital at Wigmore Hall, featuring sopranos Gillian Keith and Rebecca von Lipinski.
Talented young soloists and conductor Benjamin Levy's lithe way with Bizet's melodies make for a musically satisfying Pearl Fishers at the Royal Carré in Amsterdam.
With its latest incarnation of Die Zauberflöte, the Royal Opera ticks all the boxes in a strongly cast revival.
The St Petersburg SO and Alexander Dmitriev give a thoughtful and accomplished programme in Manchester's Bridgewater Hall
A great love story as well as a cultural and musical shock as it has been from the beginning, this performance of Tristan und Isolde in Naples was led by an inspired Zubin Metha.
Flashes of brilliance, but also mediocrity in performances of HK Gruber and Mahler by the Philharmonia.
Exuberant enthusiasm from the CBSO Youth Orchestra in a mighty programme of Lutosławski, Prokofiev and Mahler.
The Britten Oboe Quartet gave highly engaging and communicative performances of an imaginative and intelligent programme, with cerebral serialism from Elisabeth Lutyens combined with early Elgar, Britten and sublime Mozart to finish.
Handel's sensual tragicomedy comes to dazzling life in Seattle Opera's first-ever staging of Semele, a new production directed by Tomer Zvulun.
With elegant sets and superlative musicianship, Verdi came to life in the House where he is revered most. This musical feast will have us licking our lips for some time yet.
Hansel and Gretel is often treated as a children's opera, suitable for family viewing at Christmas, but as Richard Jones' production demonstrates, it is a good deal darker than that.