Artikel von Roy Westbrook

There is a reason that Butterfly has the highest blub factor in the repertory, for it is not only for Cio-Cio-San that we weep, but for ourselves. 

Rattle presented small items full of flavour alongside a heaven-storming Bruckner Ninth Symphony.

Not even the BAFTAs going on next door offered the star quality on display in the QEH.

Anna Devin's Cleopatra moved with complete conviction for scheming minx to mature woman in love.

Drama and poetry prevailed in Chamayou exhausting programme.

What a great composer, and what a great advocate for his genius.

There were plenty of vocal fireworks in this concert performance of Handel’s opera. 

All except stylistic purists should add ‘Lisitsa live in a Rachmaninov Concerto’ to their musical bucket list.

The latest concert in the LPO's “Changing Faces: Stravinsky’s Journeys” series focussed on storytelling of the symphonic kind. 

How do you prepare a new production at a major opera house, then stroll across the Thames to lead a fine and distinctive Mahler Five? 

In the sublime funeral march of the Larghetto Elder set a daringly slow tempo, producing a cumulative, sorrowing eloquence as each LSO section tossed its melodic tribute on to the passing cortège.

Oh, but the entire London Symphony Orchestra en fête is a dazzling aural spectacle – how on earth did we all remain in our seats when summoned by such Bacchic frenzy?

A programme in which a great orchestra finds several 'leaders', as well as a fine first violin.

A long evening of very high class playing offered rich rewards in exploring modernist responses to a Debussian challenge. 

Chinese-American pianist George Li is now all of 22 years old, and continues to accumulate awards for his remarkable playing, but could he find anything interesting to say about this particular warhorse? 

I suspect that we seek out many of the world’s great soloists beacuse we know what we will get, but we might well seek out Buniatishvili because we don’t.

Nietzsche's Midnight Song is the stillest piece of music in all Mahler, and Treviño’s poise and Larsson’s rich voice cast a powerful and profound spell.

The programme ended with a sense of affirmation that shouted "that's how the Ravel quartet should go!"

A recital programme that at first looked a little random was more than justified in performance

The RPO were on ripe form in works that still need such fine advocacy, and which deserved a much larger audience.