Finde Artikel | Dominic Lowe

Obwohl es in Barenboims Spiel in Mozarts Klavierkonzert Nr. 26 einige bedenklichen Augenblicke gab, war seine Interpretation von Bruckners unterschätzter Symphonie Nr. 6 genial

Despite the disruption, the musicians of the MSO under Chief Conductor Jaime Martín continue their interesting programme of Sutherland, Dvořák and Tchaikovsky.

Fabio Luisi conducts the Danish National Symphony Orchestra in a programme that blends two modern works with Beethoven's Ninth.

Before a searing performance of Shostakovich's Thirteenth from Ryan Bancroft and his Welsh forces, Benjamin Grosvenor delivers a terrific performance of Ravel's Piano Concerto in G major. 

A programme heavily skewed to the balletic saw the BBC Symphony Orchestra under Josep Pons dispatch difficult passages with ease.

It's the casting that makes this Cenerentola a joy to watch, with fine performances from Patrick Kabongo and Polina Anikina in the lead roles. 

Poniatowski is now a mere footnote in musical history, but in his day was a composer of serious repute, as shown in this concert performance at the Rossini in Wildbad festival.

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

Despite some excellent music-making, John Savournin's production is hindered by a laboured New York relocation. 

An exciting programme of Berlioz and Szymanowski makes for a delectable concert under Sir Antonio Pappano with violinist Lisa Batiashvili. 

Aigul Akhmetshina is on the verge of becoming the definitive Carmen; in this first revival of Michieletto's 2024 production at Covent Garden, she delivers the standout performance. 

Part of this year's London Handel Festival, Apollo e Dafne and The Choice of Hercules are transported to the stage in a captivating production that blends music and dance.

All the hallmarks of a Muti performance are on display as the maestro returns to conduct the Philharmonia Orchestra in a magnificent reading of Verdi's Requiem. 

Opera Rara's Donizetti Song Project has grown into a rewarding endeavour as demonstrated in its latest Donizetti & Friends recital featuring Michael Spyres and Marie-Nicole Lemieux. 

ENO's revival features a striking performance from Mary Bevan as bride-to-be Susanna, but elements of the staging continue to raise eyebrows. 

It's not without flaws, but the latest revival of Richard Jones' beautiful production of Puccini's beloved Parisian tale has drama aplenty.

A concert performance of Puccini's take on operetta sees a superlative reading of the score from Sir Antonio Pappano, and a sensational Magda from Carolina López Moreno.

A unique, but at times frustrating performance of Brahms’ First Piano Concerto demonstrates Víkingur Ólafsson's qualities, but it's in Bartók's The Miraculous Mandarin that the LPO really comes alive. 

A rewarding visit from this Japanese orchestra under principal conductor Sebastian Weigle featured a fine Rachmaninov Second Symphony and a vivid, gusty Beethoven Violin Concerto from soloist Christian Tetzlaff.

A revival of Mariame Clément's production of Rossini's less-loved comic gem provides the sense of Italian sun to warm the body and belly laughs to warm the soul.

This revival of Kratzer’s production forces the audience to confront where personal responsibility starts and stops for acting under a tyrannical regime, while bringing Beethoven’s only opera to life – with a few twists.

Olivia Fuchs' production of Rimsky-Korsakov's charming fable for ETO begins its tour in Hackney and is worth travelling to see. Catch this thoughtful production in a town near you.

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

Magnificent conducting from Robin Ticciati and fine singers make Glyndebourne's latest revival of Lehnhoff’s production musically rewarding, but cerebral philosophical elevation overpowers the earthy reality of lust and love.

Joining OHP's 2019 production of Wolf-Ferrari's charming domestic comedy, a blazing new production of Pagliacci delivers everything that one could want from Leoncavallo's infamous opera. 

Is Puccini's second opera unloved and unlovable? Opera Holland Park makes a commendable attempt to revive Edgar, but struggles to overcome its many flaws.

Glyndebourne's new production of Lehár's greatest work is interpreted with his customary flair and fun by Cal McCrystal. 

Deftly conducted by Charlotte Corderoy, Cecilia Stinton's new production of Rossini's immortal comedy brims with fun.

The leafy parks and cobbled streets of Riga’s old town are far removed from the intense heat of the little village in the Basque Country in which Donizetti set his L'elisir d'amore, but a new production at the Latvian National Opera captures much of the spirit of the work, adroitly balancing comedy with the joys and pain of love.

With typical spirit, the students at the Royal Academy of Music did an excellent job in bringing Martinů’s Comedy on the Bridge and Alexandre bis to life – two lesser-known pre-war surrealist gems.

The first of three concerts in a Mendelssohn cycle sees Sir András Schiff and the Orchestra of the Age of Enlightenment tackle the composer's First and Fourth Symphonies, preceded by the Piano Concerto no. 1.

A semi-staging of Bartók's tale of doors and brides at the Coliseum is saved from disaster when Jennifer Johnston steps in to sing Judith at very short notice, with the part gamely acted by Crispin Lord.

David Alden's production is a vivid telling of Janáček's devastating village drama. With a terrific cast and a splendid performance from the pit, this revival is an unalloyed artistic success.

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

Miller's production, running since 1987, is starting to show its ago, but an excellent performance from Anna Devin keeps English National Opera's latest revival moving.

A dynamic and forceful performance of Shostakovich's Violin Concerto no. 2 is the highlight in a concert that also features an elegant little Sibelius opening and two of Strauss' tone poems.

Questionable conducting aside, The Royal Opera's latest revival of Damiano Michieletto’s fluid production of the famous operatic double-bill is terrifically executed by two excellent casts.

It premiered in the same year as Mozart's opera, but Gazzaniga's Don Giovanni is virtually unknown. Despite the best efforts of an energetic student cast it doesn't come close to hitting the heights that Mozart and Da Ponte reached.

Tchaikovsky's final opera and ballet were always intended to be paired; at the Royal Albert Hall Petrenko and the RPO present them together in a rewarding double-bill, marred by microphones.

Peter Konwitschny's production of La traviata has its flaws, but in an age of protracted media there is much to be said for his taut production of Verdi's most famous tragedy. 

Zingarelli's Giulietta e Romeo won the favour of no less than Napoleon I himself and a new production at the Opéra Royal offers an appropriately regal setting in which to see Gilles Rico's new production of this once famous opera.

A triumphant house debut for Nadine Sierra in the latest revival of Laurent Pelly’s production of Donizetti's joyous village rom-com. 

Typically interesting programming from Jurowski gave us the Proms premiere of Adès’ Concerto for Piano and Orchestra, combined with saucy Weill and forcefully modern Rachmaninov. 

Prieto conducted the young musicians in three compositions from the 1940s which showed the budding talent to which we have to look forward.

It's been in the Glyndebourne rep for almost fifty years, but John Cox's production, complete with Hockney's iconic set, remains timeless. Robin Ticciati's superb conducting and an excellent cast made this latest revival a complete success.

The BBC National Orchestra of Wales under Ryan Bancroft joined Kanneh-Mason as she tackled Prokofiev's most popular piano concerto with easy dexterity, then delivering a powerful performance of Tchaikovsky.

Psalm 150 and a collection of outrageous 13th-century texts by boisterous young clergyman collide at the Royal Albert Hall in the City of Birmingham Symphony Orchestra's Prom. 

The Met's first European tour in 20 years makes it to London for an evening of Shakespeare and Berlioz.

Brought to life by some sensational singing from a strong cast, Kosky's staging delivers repeated emotional punches.