Artikel von Roy Westbrook

Urioste’s marvellous playing wedded gleaming tone to sure technique in The Lark Ascending.

On the page this is less orchestration, more job creation scheme.

I wanted to hear more from Louise Alder, but that was true of each of the four singers.

Who would have thought celebrating a Black Mass could be quite such fun?

One of the great performances of a concerto which gets so many performances.

Jan Lisiecki's leap-in with the Israel Philharmonic offers extra spontaneity in Beethoven's Fourth Piano Concerto. 

Jan Lisiecki opens the third weekend of the Riga Jurmala Music Festival at the Dzintari Concert Hall. 

Had the piece been much longer, pianist, instrument, audience and hall would surely have been consumed by some Pentecostal fire. Which is more or less what the composer had in mind.

Paula Sides as Donna Anna has an appealing sound throughout her range, a hint of spinto power, and gave the vocal performance of the night.

Philip Cobb’s bluesy inflections turned the dear old Barbican Hall into the coolest nightspot in the capital; they might as well have lowered the lights and served cocktails.

Some of Kozhukhin's trills were as rattling thunder – but there was much delicacy and poetry on offer in the many lyrical episodes.

Oramo gave a generally convincing account of Mahler's seventh, if at times one with a sense of taming a beast.

Kanneh-Mason's tone was luminous, his accuracy formidable, his commitment complete.

The several empty seats were probably a comment on the current reputation of the composer more than that of the pianist. Both deserved a full house.

No one who had ever doubted the stature of the Eleventh could do so after this.

Kochanovsky has been making waves around Europe and beyond, and we now heard just why.

Much more than an accompanist, Denk was the rock on which the success of such a demanding programme was built.

Michael Spyres' long lyrical line in the Sanctus was outstanding, his tone ardent and ringing.

Valery Gergiev and the Mariinsky Orchestra return to Cadogan Hall for the second of their Petipa/Tchaikovsky tributes. 

Dominic Wheeler did full justice to Britten’s brilliantly colourful and haunting score right from those first eerie glissandi.