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Berlin Philharmonic cellists combine with Turkish counterparts for a dazzling performance in Istanbul.

Visiting Russian players offer sophisticated Brahms and sensitive Elgar in Istanbul.

Waltzes and Turkish folk dances energise spirited piano duet recital

Ravel and Prokofiev offer divergent views on the piano left-hand concerto, but fine performances ensure satisfying contrast.

Philip Sawyers’ Third Symphony imposing but tightly argued, and given a compelling first performance by Kenneth Woods and the English Symphony Orchestra.

Karabits leads an adventurous programme at the BSO’s Poole home, with flamboyant violinist Nemanja Radulović on surprisingly refined form in the Barber Concerto.

Visionary director Marek Weiss ends his tenure at Opera Bałtyka with a powerful and uncompromising take on one of Poland’s most important modern operas.

The London Symphony Orchestra doesn’t rest on its laurels. A century of world-class music making has earned it a global reputation for performances of the core classics. But the orchestra also has a commitment to new works and emerging composers, showcasing the music of today and nurturing the music of tomorrow.

A threadbare staging from Graham Vick allows Haas’ innovative score to shine. Drama is modest, but complements sophisticated music to project an impressively unified vision.

The BBC's Ten Pieces project culminates in a spectacular Proms event, some of it confusing for adults, but all well-received by the children.

Britten’s final opera given an impressively atmospheric staging, ideally conceived for the small venue

He’s only 26, but Mark Simpson is already a leading light of the contemporary music world. He tells Bachtrack about his new commission for Manchester International Festival. 

The London Symphony Orchestra celebrates Boulez at 90 with a compelling performance under his protege Péter Eötvös.

“Two Ladies”, the title of this afternoon’s concert of the Estonian Music Days festival, referred to its two violin soloists, Triin Ruubel and Juta Õunapuu-Mocanita.

Radical new music doesn’t always have to be presented with a straight face, as demonstrated by the Polish Ansambel Sepia in Tallinn. 

The Tallinn National Symphony Orchestra Easter concert represents new music patronage on a grand scale. Six up-and-coming Estonian composers are commissioned write a substantial work for orchestra, and an entire concert is given over to their first performances.

“If you haven’t heard Notations your life isn’t complete.” Ruth Mackenzie is clearly passionate about the music of Pierre Boulez, and in her new capacity as Artistic Director of the Holland Festival she is in the perfect position to share that passion. 

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.

The Simón Bolívar Symphony Orchestra fizzes with energy and excitement, but Dudamel too often pushes them to extremes.

Rudolf Buchbinder demonstrated his authority in Beethoven with a compelling and elegant account of the Fourth Piano Concerto, while Nikolaj Znaider reached for extremes in Mahler’s First.

Colin Currie played with passion and verve, but James MacMillan's new Percussion Concerto was a disappointment.

Birtwistle’s Responses poses more questions than it answers, but Aimard’s Messiaen was a triumph. 

A strident Mozart concerto from Christopher Park, followed by an expansive but richly varied Bruckner Sixth from Eschenbach.

Brett Dean's The Annunciation offers a Moderninst take on Christmas traditions. Curiosities from Respighi and Strauss complete an eccentric programme.

Haitink's Bruckner is begining to show signs of his age, but occasional problems of stamina and focus were of little consequence to this otherwise powerful and authoritative reading.

Perfectly judged Brahms from the Schubert Ensemble, complemented by satisfyingly rustic Dvořák.

Colin Currie's all Reich programme included a world première, the Quartet for two pianos and two vibraphones, but the newer works were overshadowed by his epic 1985 Sextet.

Esa-Pekka Salonen opened the Philharmonia season with a taut, driven Berlioz Requiem, epic, if somewhat constrained by the scale of the Festival Hall.

Detailed, transparent readings from the London Sinfonietta brought out the modernist in early Schoenberg, but passion and atmosphere were lacking.

Not everything worked in Gilbert's Beethoven Nine, but the stunning finale redeemed all.

Royal Opera’s first rival of Anna Nicole opens to an enthusiastic student audience. Eva-Maria Westbroek dazzles, but second time round the work seems even more burned by its clumsy libretto.

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Rich textures and sculpted phrases: Iván Fischer presents a unique vision of Brahms' Third and Fourth symphonies. Drama maybe lacking, but the BPO more than compensate with the beauty and elegance of their sound.

A kids’ TV format transferred to a Proms concert offered plenty of entertainment for the target audience, but precious little music.

A brave choice for a Proms season opener, but Elgar's ponderous score is presented in the best possible light by the BBC forces.

Presenting new Russian Orthodox music in a theatrical setting suggests new possibilities for the tradition, most ambitiously in the field of opera.

  Orthodox chant of the 17th century, beautifully sung, and programmed to highlight the telling details that create diversity within the tradition.

A suitably rustic account of Janáček’s tale: seductive, engaging, and with a sense of intimacy ideal for this small venue.

Così fan tutte in a 1950s carnival setting. Visually spectacular, and with plenty of laughs. Not everything works, but still worth seeing, especially for Roderick Williams' spivvy Don Alfonso.

Russian composer Alexander Raskatov visits Ireland for a concert of his own works, including the epic string quartet cycle Monk's Music. A fascinating cross-section of the composer's work, well played to a sizeable and enthusiastic local audience.

Read about the Royal Stockholm Philharmonic Orchestra's new project RSPOplay, which allows you to watch the orchestra in action from home, wherever you are around the world – for free.

Read our review of Dieter Dorn's production of Wagner's Tristan und Isolde in its 2008 broadcast from the Met Opera in New York.

Read our review of Robert Lepage's production of Wagner's Götterdämmerung in its 2012 broadcast from the Met Opera in New York.

The WDR Sinfonieorchester Köln put its fate in the hands of the younger generation for this evening’s concert. Conductor Kazuki Yamada is only 34. The original violin soloist was to have been Lisa Batiashvili, but she pulled out and was replaced by the 22-year-old Serge Zimmermann.

How times change. Only a few decades ago, sacred music, if it was heard at all in Russia, was presented in a strictly secular concert setting, and even in many cases with the texts altered to reduce their religious significance. Today though, the Orthodox Church is an influential and highly visible player in Russian public life.