Articles by Mark Pullinger

Tcherniakov reduces Berlioz' epic to little more than Circle Time therapy, a poor way to mark the composer's anniversary year.

Maurice Ravel met Jean Sibelius at the Royal Festival Hall for a programme to which each composer contributed a waltz, but the musical terrain was anything but a level playing field. 

The distinguished baritone recalls his Lieder training, how his interpretations have developed and what his operatic work has brought to the concert platform. 

The Albanian soprano, who made a spectacular jump-in for her house debut in Richard Eyre's production in 2008, makes a splendid return. 

The young French mezzo discusses Ravel's Shéhérazade, and reflects on the art of song and her approach to recitals. 

During rehearsals for his production of The Queen of Spades at the Royal Opera, Norwegian director Stefan Herheim reflects on his art, his frustrations with the industry and his impending move to Vienna.

The day after the Winter Solstice and Wigmore Hall was bathed in an Italian summer trip to La Serenissima. 

Hamlet lives! Ambroise Thomas' operatic take on The Bard has a particularly French ending but that doesn't spoil this terrific revival in Paris. 

Bourne's radical reworking of Swan Lake returns to Sadler's Wells, 23 years after its premiere. 

Our Winter Wonderland takes us to snowy Russia for an exploration of Tchaikovsky, Rimsky-Korsakov and Glazunov.

What marks the start of Christmas? For many, it's when the Christmas tree magically grows in The Royal Ballet's Nutcracker...

Nearly a century after his birth, Weinberg's final completed symphony is given its UK premiere by the CBSO and Mirga Gražinytė-Tyla.

Even given a routine revival, McVicar's staging has much to recommend it, returning the opera to its literary roots. 

An impressively cast revival for Verdi's one-time neglected masterpiece at Covent Garden.

Roth's exploration of the roots of musical modernism takes the LSO from Debussy to Strauss via Dvořák's Cello Concerto.

Ravel, Mendelssohn and youthful Shostakovich form a varied programme for this starry trio. 

The Italian bass selects his favourite Verdi arias, including performances by some of the singers he most admires. 

From the claustrophobic intensity of Britten and Shostakovich to the sunny balm of Beethoven, this was an excellent recital. 

It was the finale which delivered the stomach punch, snatching defeat from the jaws of victory.

Sir Frederick Ashton's quintessentially English ballet returns, dressed in pastel shades with knockabout fun everywhere.