Find articles | Andrew Larkin

Simon Rattle and the Orchestra of the Age of Enlightenment deliver a revelatory all-Berlioz programme, crowned by a sensational Symphonie Fantastique of rare clarity, colour and imagination.

Tom Creed’s witty production at Lismore Castle delivers strong singing, sharp comedy and lively orchestral playing, even if the opera’s darker supernatural edges are somewhat diminished.

Salome Jicia delivers a vocally impressive and emotionally committed Norma, but Orpha Phelan’s post-apocalyptic staging fatally weakens Bellini’s sacred tragedy.

Two technical mishaps punctuate the evening, but Hilary Hahn maintains poise throughout a French programme crowned by a finely judged, deeply expressive performance of Fauré. 

Peter Whelan drew rare urgency and transparency from Brahms, while Carlos Ferreira’s lyrical finesse elevated Weber beyond expectation.

Netia Jones’ modern reimagining intrigues more than it convinces, but still makes a strong case for Dvořák’s dark fairy tale. 

In Dublin, Jean-Luc Tingaud and Louis Lortie bring clarity and purpose to two composers often ill at ease with the orchestra.

Alexander Shelley tackles Schumann’s sprawling Das Paradies und die Peri with conviction, shaping real momentum and drama, even if balance issues and Thomas Moore’s cloying libretto sometimes distract.

Works by Boulanger and Shostakovich pay off handsomely before Rimsky-Korsakov’s Scheherazade, shaped with dynamic control and visceral energy, crowns a vividly played concert.

Scintillating Mozart meets soul-searching Bruckner as Anja Bihlmaier and the NSOI deliver a programme of vivid contrasts and compelling musical storytelling.

András Keller’s orchestra offers intensity, finesse and sheer dramatic sweep, from Tchaikovsky’s infernal tragedy to a Beethoven Fifth Symphony driven with exhilarating momentum.

A tiny stage and five musicians prove no obstacle to Irish National Opera’s lively, witty Bartered Bride, where sharp casting and clever direction turn modest means into genuine delight.

From an Anna Clyne Irish premiere to Tchaikovsky’s brilliance and Shostakovich’s grim wit, the NSO balances virtuosity with thoughtful nuance in Dublin. 

Spanish violinist María Dueñas dazzles with poised, luminous Beethoven before the National Symphony Orchestra and Hans Graf tackle turbulent Prokofiev. 

Rain cannot wash away the charm of Britten’s A Midsummer Night’s Dream at Lismore Castle, a visually clever, if uneven, outdoor staging with moments of real enchantment.

Donizetti heads West in Cal McCrystal's riotous, laugh-out-loud L'elisir d’amore, where dazzling singing meets cowboy capers in a gloriously zany production for Irish National Opera. 

John Storgårds conducts the NSO through Sibelius, Polevá, and Shostakovich at the National Concert Hall, while pianist Yukine Kuroki delivers Rachmaninov with luminous precision.

Ireland’s first Wagner opera in over a decade dazzles with a captivating production by Rachael Hewer for Irish National Opera. 

Conductor Speranza Scappucci led a vibrant programme of orchestral and vocal works, blending Spanish flair and humor in this enjoyable performance.

A fine and sensitive pianist, Alice Sara Ott captivates with Field Nocturnes and Beethoven sonatas at the National Concert Hall, Dublin. 

A concert of striking contrasts in Dublin, from Debussy’s ethereal textures to Rachmaninov’s lush romanticism. 

In a thrilling concert oscillating between lush sentiment and explosive tension, pianist Lise de la Salle and conductor Diego Matheuz lead the NSO through Rachmaninov’s emotional grandeur and Shostakovich’s wartime defiance. 

Poetic and intelligent, violinist Stefan Jackiw shines in Mozart's Fifth Violin Concerto while Hans Graf conducts a mighty Bruckner 7. 

Michael Chioldi, Soraya Mafi and Bekhzod Davronov shine in Julien Chavez’ energetic production in Dublin’s Bord Gais Theatre. 

Patrik Ringborg and the National Symphony Orchestra deliver a stirring Tchaikovsky Fifth Symphony. 

Combining operatic grandeur with intimate grief, Markson, soloists, the NSO and NSC deliver a masterful performance of Charles Villiers Stanford's Requiem. 

Superlative singing, hilarious antics and an energetic production make Donizetti's Le Convenience ed inconvenience an exhilarating success. 

Conor Hanratty's humorous production is a triumph from beginning to end, a must see at this year's Wexford Festival. 

Excellent singing, an amusing production and lively staging showcases Mascagni's Le maschere in the best possible light at Wexford Festival Opera. 

Celebrating his 80th birthday, Leonard Slatkin shows his celebrated artistry in conducting the NSO in a programme featuring Beethoven, Brahms and a world premiere by his son. 

Director Cameron Menzies offers a fresh perspective on Tchaikovsky's masterpiece Eugene Onegin in this Northern Ireland Opera production. 

Strong vocals from the three principal singers and a sure musical direction from young conductor Farrell help offset some of the less than convincing elements to Olivia Fuchs' production. 

Pablo Ferrández charms in Tchaikovsky's Rococo Variations while conductor Jaime Martín offers a compelling, rhythmically driven version of Shostakovich's Tenth Symphony. 

Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

So many wonderful small details as well as the grand statements made this the extraordinary, thrilling performance of Mahler's second symphony Resurrection. 

Gerts conducts a sublime Brahms 4 while Carol McGonnell gives a lively rendition of Stanford's Clarinet Concerto in A minor. 

An eclectic mix of lesser known works by Fauré are followed by Bizet's Symphony in C major the glories of Fauré's Requiem. 

The National Symphony Orchestra's nautical theme includes merry Mendelssohn, the spiteful storminess of Britten’s Four Sea Interludes and the yearning of Vaughan Williams' A Sea Symphony. 

Orpha Phelan directs a terrific cast of singers in an inventive and faithful production making for an evening to remember. 

This programme offered the chance to delve into some of the top composers from the US: Barber, Gershwin and Copland. Wayne Marshall proved a solid presence in Gershwin's Piano Concerto in F. 

Erlanger's fractured and clichéd opera isn't helped by confused direction, although soprano Andreea Soare is nothing short of magnificent as the heroine. 

A terrific cast of principal singers lead by soprano Claudia Boyle, coupled with compelling direction from Bruno Ravella make for an exhilarating operatic experience in Donizetti's Zoraida de Granata. 

Artistic Director Rosetta Cucchi makes a compelling case for Marco Tutino's impassioned opera on the horrors of war from a woman's perspective. 

Jack Furness turns Faust into an Oppenheimer-type scientist in a powerful, well-sung staging in Dublin's Gaiety Theatre. 

An evocative account of Stravinsky's Firebird by Martín and the NSO though Barry's newly commissioned double bass concerto proved a damp squib. 

Masterful accounts of two great symphonies by Concerto Budapest in Dublin and fascinating Bartok from Pierre-Laurent Aimard. 

The Sixteen offer glorious tones, smooth polyphonic lines and vivid word paintings at the National Concert Hall. 

Polly Graham's take on Mozart's Così fan tutte is full of humour and political commentary, while the singing is a joy to hear. 

Gerstein shows his virtuosic brilliance with speedy Rachmaninov while Jaime Martín and the NSO bring oriental magic to Rimsky-Korsakov's symphonic suite.

The Akademie für Alte Musik Berlin delivers an exciting concert of early Classical works from Mozart, Haydn, Gluck and Telemann.