The Iceland Symphony Orchestra's tour to the acoustically excellent Göteborgs konserthus in Sweden for a concert of Sibelius, Strauss and Thorvaldsdóttir was an obvious success, demonstrating an orchestral sound that deserves to be heard abroad more often.
A sadly under-attended concert by Stéphane Denève and the Brussels Philharmonic saw fine technique and a clear appreciation of the final pieces of Rachmaninov and Prokofiev's careers.
Ivan Magrì's exemplary technique and strong delivery in his London recital debut left his audience hoping for a return visit to the Rosenblatt series in the imminent future.
Mozart's first stage work was written when he was just eleven years old; in this performance by Classical Opera, the composer's youthful writing and touches of humour are brought to life by a solid cast and lively conducting.
Ádám Fischer and the Orchestra of the Age of Enlightenment gave a thrilling account of Beethoven's Seventh, and there was much to admire in Steven Isserlis' intelligent reading of Hadyn's Cello Concerto no. 1.
For her London recital debut, Sondra Radvanovsky offered a varied programme of ranging from Bellini to Barber, showing off the technique with which she has dazzled American audiences.
Jumping in to cover for Valery Gergiev, Susanna Mälkki made a promising debut with the LSO, offering a commendable, if flawed, Also sprach Zarathustra.
Tara Erraught offered a programme that combined well-known arias with obscure German Lieder, showing off a voice strong in technique and colour that left the audience wanting more.
For the first of three concerts at the Cadogan Hall, the Vienna Tonkünstler Orchestra gave a heavy account of Beethoven's Piano Concerto no. 4, lightened by the graceful playing of Angela Hewitt, followed by a rich New World Symphony.
Clear playing from Pierre-Laurent Aimard in the Emperor Concerto and a sense of the dramatic in Also sprach Zarathustra brought life to old warhorses, while a new concerto from Tansy Davies made waves.
Continuing the 'German Romantic' series, Steffens and the Philharmonia gave an indulgent performance, culminating in a thrilling account of Brahms' Third.
Despite a condescending commentary, a strong performance from Anja Kampe as Leonore made this concert staging of Fidelio at the Royal Festival Hall thoroughly enjoyable.
An all-Tchaikovsky programme of opera and ballet was an appealing way to enter the Christmas period, especially under the energetic baton of Jac van Steen.
