Artikel von Dominic Lowe

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.

Jonathan Miller's production remains a work of brilliance, but poor conducting amongst other things keeps this revival from getting off the ground.

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.

Bruckner's inventive Fifth was the only dish on the menu in a thoughtful, but incomplete interpretation from Andris Nelsons and the Philharmonia.

Confusion, lack of subtlety and volume issues beset the first Rosenblatt Recital of the year.

The Sixteen launched us into the final days before Christmas with a well-thought out and diverse combination of songs on The Three Kings.

Gerald Finley displayed a voice still in its prime in a rich and diverse recital at the Barbican, elegantly supported by Antonio Pappano on the piano.

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.

Bruch’s Violin Concerto bo. 1 had a delicate soloist, but an outspoken orchestra, while Saint-Saëns’ “Organ Symphony” struck all the right notes.

Bringing her programme of Baroque arias to London, Joyce DiDonato was on a mission to discover how we find peace.