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In his new work for English National Ballet, the South Korean choreographer has taken influence from a classic of English literature: William Blake’s Auguries of Innocence – a parable of environmental destruction and yearning for a more humane world. 

In the midst of a devastating year for the country, young Venezuelan violinist Pablo Agudo López talks about finding crucial links between European Baroque music and the traditional music of Latin America.

This autumn, British choreographer Alistair Marriott is collaborating with National Ballet of Japan on a new full-length narrative ballet, adapted from Charlie Chaplin’s timeless silent film City Lights. With a score taken from Chaplin’s own compositions, we discover what it takes to create a new ballet on this scale.

The London Philharmonic Orchestra’s Principal Conductor talks about returning to Britten’s War Requiem to launch the 2026–27 season, conducting opera, Sibelius and Schumann, and trusting in music to communicate its message.

The new General Director of Grand Théâtre de Genève discusses his plans for the upcoming season, reviving lesser-known pieces, and how audiences are thirsty for new experiences.

For 20 years, Baroque ensemble Les Arts Florissants has been cultivating the next generation of singers with its Le Jardin de Voix programme. Director Paul Agnew talks about this mission, his love for early Baroque and Monteverdi’s secrets.

Editor Mark Pullinger selects ten young performers who are definitely worth following in the coming season. 

Bachtrack’s dance writers choose up and coming young dance talents who shouldn’t be missed in the 2026–27 season.

With new works from English National Ballet, Rambert and National Ballet of Japan, we take a taste of some of the new dance creations premiering around the world during the 2026–27 season.

This season, new operas are depositing characters in limbo between this life and the next – from Lincoln in Missy Mazzoli’s Lincoln in the Bardo, to Bassem Akiki’s supernatural retelling of the life of Mustafa Kemal Atatürk. 

Capturing the vogue for Sturm and Drang, Telemann’s dramatic cantata Ino was one of the composer’s last works in a prolific career. Soprano Amanda Forsythe talks about returning to the UK to sing this rare and exciting work with the Academy of Ancient Music.

Stroll with us through the city, taking in the various venues dedicated to classical music. From opera and zarzuela to open-air recitals, Madrid’s musical scene is rich and truly captivating.

This season, Switzerland’s premier public-facing concert series juxtaposes several notable Beethoven performances with a variety of other music from around the world. 

When the US government made it impossible for Cuba’s Malpaso Dance Company to perform in New York City, the company refused to bow down, creating a new documentary in Havana with choreographer Pedro Ruiz on their deep creative resilience. 

This World Photography Day, Bachtrack’s editors make their picks for their favourite photographs from 2025–26, encompassing opera, ballet, orchestral performance and portrait photography.

Rising New Zealand soprano Katherine McIndoe takes on multiple personalities in the central roles of The Seven Deadly Sins and La Voix humaine, in a production directed by Alejandro Bonatto this September.

Soprano Louise Alder reflects on her experiences singing both Susanna and the Countess in The Marriage of Figaro and exploring other Mozart roles. 

World-class artists and teachers, distinctive and delightful concert programmes, unique venues: this Finnish festival is the world capital of chamber music in July.

The city of Granada is a veritable musical stage, as its rich heritage, along with its streets, squares and gardens, provides the setting for a wide variety of music – ranging from the most authentic flamenco to jazz, Early music, dance and symphonic music.

Bachtrack Director Alison Karlin shares her top tips for keeping cool at concerts – especially outdoor summer festivals – during a heatwave.

Ahead of the Grafenegg Festival’s 20th edition this year, artistic director Rudolf Buchbinder talks about Grafenegg’s new hall that carries his name, and why he is more nervous in performance than ever.

This upcoming season at the Palau – which has a strongly Bachian and Beethovenian flavour – features many of Europe’s most celebrated soloists and ensembles.

Ahead of a new orchestral suite from Festen presented at the BBC Proms this month, Mark-Anthony Turnage talks about returning to this opera of secrets and revelations, and discovering things about his own family too.

The Canadian virtuoso pianist and composer talks about returning to an old friend: Brahms, whose Second Piano Concerto and Horn Trio he performs in several concerts with the Singapore Symphony Orchestra.

The Bayreuth Festival will celebrate its anniversary season in 2026. It has been a pilgrimage site for Wagnerians for 150 years, with Bachtrack attending regularly since 2014. We asked our reviewers to share their fondest memories with us.

This year celebrated Scottish tenor Nicky Spence returns to the BBC Proms to perform in Oberon – and at the Last Night. But how does he feel about all the flag-waving?

Paris is home to a host of amateur orchestras. In a series of three articles, we take a closer look at these ensembles, from rehearsals to concerts. This third instalment features Ondes Plurielles and the COGE.

Mussorgsky’s Pictures at an Exhibition famously depicts artworks by his friend Viktor Hartmann, but which other musical works were inspired by the visual arts?

Paris is home to a host of amateur orchestras. In a series of three articles, we’ll be taking a closer look at these ensembles, from rehearsals to concerts. This second instalment features Elektra.

Christopher Carr talks about the challenges of resetting Ashton’s Birthday Offering for a new generation, and how grateful he is to have notation to refer to the original choreography.

Liam Francis talks openly about creating a new dance company, finding his choreographic voice, successes and insecurities, and a circuitous route to securing a life in dance.

Paris is home to a host of amateur orchestras. In a series of three articles, we’ll be taking a closer look at these ensembles, from rehearsals to concerts. The first instalment features Ut Cinquième.

Every summer, Saaremaa Opera Festival and Narva Opera Days are held at the extreme west and eastern ends of Estonia – far from everyday life, where things can become uncanny, unpredictable and fantastical.

Longtime music journalist and founder of ArtsJournal talks about the multiple crises facing orchestras and arts organisations in the United States, amid the damage wrought by the second Trump administration.

The leading US soprano talks about her experiences singing one of opera’s most devastating roles, which she takes to Brno this autumn.

Christoph Poppen, new jury co-chair of the Hong Kong International Conducting Competition, argues that the competition valuable because it allows young conductors to meet one another, in what is an otherwise lonely profession.

Although his reputation rests principally on Der Freischütz, (Berlioz was a fan), Carl Maria von Weber was an outstanding composer, writing some of the greatest works in the clarinet repertoire.

With a penchant for Baroque music in historical livery, Collegium Musicum Riga are part of a small but distinctive Early music scene in Latvia, initiating collaborations with others across the Baltic states.

Ahead of the 2026 ARD International Music Competition, Quatuor Ébène’s Pierre Colombet and Gabriel Le Magadure talk about the competition’s transformative effect on their career, performing Beethoven around the world, and advocating for chamber music.

Robert Schumann’s music is intensely personal. Unlike the architectural grandeur of Beethoven or the theatrical brilliance of Franz Liszt, Schumann specialised in emotional intimacy and nuance.

A leading composer and conductor of opera in Germany, Manfred Gurlitt’s Jewish ancestry led to his music being banned. Emigrating to Japan, he became a pioneer of opera and Western classical music in Japan, a legacy still felt today.

Giulio Prandi, conductor of Coro e Orchestra Ghislieri, and violinist and concertmaster Gabriele Pro talk about crossing borders, adopting shared sensibilities, and the challenges facing historically informed musicians in Italy today.

Erkki-Sven Tüür talks about making sanctuary on Hiiumaa, a wild island to Estonia’s west, and his interest in writing concertos, seen “through the eyes of someone who observes the world very closely”.

The Toronto-born composer talks about new work Romanza for piano and orchestra, theatricality in music, taking influences from psychology, and the effect on his music of working for the United Nations.

Birmingham Royal Ballet’s Jonathan Payn talks about The Green Table by Kurt Jooss, first performed in Paris in 1932 – and how choreography can respond to political collapse and the threat of war. 

A group of younger Croatian musicians, including new ensemble Gli Schiavoni, are determined to recover the historical music of Croatia, despite a devastating series of earthquakes and armed conflicts.

Brett Dean, Heather Betts and Lotte Betts-Dean sit down to discuss their work on Of One Blood, a new opera dramatising the lives of Elizabeth I and Mary, Queen of Scots – affairs of the family all round.

Ahead of a return to Prague to perform with the Czech Philharmonic, Anastasia Kobekina talks about Bryce Dessner’s new cello concerto, Trembling Earth, her love for Dvořák, and exploring new instruments.

Amanda Britton, Artistic Director of Rambert School, talks about an exchange and collaboration between the Rambert School and Juilliard to create a new work by Wayne McGregor, a unique project.

Founder of celebrated young vocal ensemble Cantoría talks about being a musical organiser, singing musical ensaladas, and how Barcelona might be the capital of Early music on the Iberian peninsula.