Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | London Philharmonic Choir

Sacred and secular, operatic and symphonic dimensions united in a thrilling climax to the London Philharmonic Orchestra's season. 

A perennially unsettling pair of complementary post-war masterpieces, conducted by Andrey Boreyko, and a moving return to London for Gidon Kremer. 

Leif Ove Andsnes brings out the singing line of Rachmaninov's Third Piano Concerto before vocal soloists Kristina Mkhitaryan, Dmytro Popov and Kostas Smoriginas join the London Philharmonic Choir and Orchestra for The Bells. 

Edward Gardner, Benjamin Grosvenor and the LPO give a great performance of Busoni's mammoth Piano Concerto. 

Vladimir Jurowski's six-year Ring with the LPO closes as the cycle began: a gleaming, golden ring with a black hole at its core. 

Take a fine orchestra and an equally fine chorus, together with three contrasting soloists, and for content the greatest story ever: all the ingredients to bring alive Haydn's The Creation.

One opera conductor gives way to another to play music by one of the greatest of all opera conductors: Mahler's mighty Third Symphony.

Not with a whimper but a bang! The LPO's new season, with Principal Conductor Edward Gardner in charge, gets off to an impressive start with Mahler's “Resurrection” Symphony. 

Edward Gardner conducts the LPO in a shrewdly conceived programme of Ligeti and Strauss.

After a rare treat to hear Tippett's commemoration of King Charles' birth and Alina Ibragimova's Mendelssohn, the crowning achievement of this concert is Edward Gardner's majestic reading of Janáček's Glagolitic Mass.

Ukrainian bass Ukrainian Vitalij Kowaljow brings drama and authority to Shostakovich's Babi Yar, while Simon Trpčeski offers a classical Emperor. 

Boreyko and the LPO shine in Victoria Vita Polevá's tribute to Ukraine and Elena Langer setting of Edward Lear, and give a dazzling performance of Shostakovich 5.

A poisoned rat, sugary girls and just the small matter of a man's soul. Berlioz's légende dramatique deals minor to the major and in the hands of Edward Gardner and a superb cast, the work truly comes to life and brings the composer's unique flair to the fore.

Tan Dun conducts the LPO in the UK premiere of his Buddha Passion, hyped as “without precedent in the Western concert hall”. 

With a powerful but not world-beating team of soloists, Gardner and the LPO tackle Schoenberg's sprawling cantata with aplomb – except for one near-catastrophic misstep.

Elgar's oratorio is treated as a rousing evening’s entertainment rather than an offshoot of the Catholic liturgy, with three stellar soloists. 

The constituent parts made up a contrasting and stimulating whole: works by Lili Boulanger, Messiaen and Brahms, united by biblical inspiration. Edward Gardner marshalled the collective London Philharmonic forces.

The LPO and London Philharmonic Choir are on outstanding form for a new major choral work to tell the Christmas story.

An incandescent concert performance of Tippett’s The Midsummer Marriage launches a new era for the London Philharmonic under principal conductor Edward Gardner.

Bertrand de Billy made his debut with the LPO in an all-French programme headlined by Fauré's Requiem and preceded by a rewarding pairing of Poulenc's Organ Concerto and Sept Repons des Tenebres

Impressive control from Vladimir Jurowski and his LPO forces in Mahler's great work about death and resurrection, but with obvious clinical detachment too.

London Philharmonic Orchestra and Choir paint a terrifying picture of hell and damnation at the Royal Festival Hall.

John Luther Adams piece unfolds with the patience and weight of the geological time, leaving a powerful mark.

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

On the 100th eve of the Armistice, Vladimir Jurowsky led the LPO in four radically different meditations on death and eternal life.

A quartet of superb soloists shine through an orchestral and choral performance of great precision to bring out Verdi’s powerful evocation of the terror of eternal damnation.

Glistening performances by the London Philharmonic Orchestra and combined forces under Thomas Adès bring to life Stravinsky’s Perséphone, with fiery premières of works by Adès himself and Gerald Barry.

Rachmaninov had a strange fascination with the Dies irae chant. For last night’s concert, Andrés Orozco-Estrada prefaced the Symphonic Dances with a rendition of this Gregorian Chant.

Sir Mark Elder's 70th birthday Gurre-Lieder threatens to dislodge the roof in Manchester with the combined forces of the Hallé and BBC Philharmonic

Concluding its "Belief and Beyond Belief" series, the London Philharmonic Orchestra conducted by Yazushi Ono also completes its 2016-2017 concert season. 

Reflections on mortality provided by the French contralto Nathalie Stutzmann conducting the London Philharmonic Orchestra and Choir in two works by Richard Strauss and Mozart.

At 82, Sir Roger Norrington may have slowed down his conducting career but I’m very pleased to report that he still loves stirring things up at his concerts.

The silence of the Cenotaph was swept away by the greatest howl of anguish in music.

Democracy and collectivism were hard at work as Jurowski’s decidedly undictatorial style fostered a strong on-stage community amongst the London Philharmonic Orchestra and Choir, who ultimately conjured Elysium itself.

Weaknesses in the staging did little to dim the musical pleasure of hearing Sir Mark Elder conduct Weber's masterpiece with OAE forces and an impressvee cast

Vladimir Jurowski and the London Philharmonic Orchestra produced an intriguing programme with some rare Taneyev, invigorating Tchaikovsky and fresh Sibelius.

Saint-Saens' “Dance of Death” and Orff's gaudy, medieval satire framed a stunningly-realised new commission from Guy Barker, with Alison Balsom playing against type. 

Sir Mark Elder and the Halle introduce Vaughan Williams masterwork Sancta civitas to the Proms.

Czech conductor energises the London Philharmonic in three contrasting works, including one of the 20th century's greatest choral masterpieces.

The world première of Julian Anderson's In lieblicher Blaue and Ravel's Daphnis et Chloé make for a colourful programme from the LPO.

Erratic tempi and unclear textures marr an otherwise engaging opportunity to hear a rarer Rachmaninov work alongside his evervescent Piano Concerto no. 2.

Alice Coote and Elizabeth Watts soar gloriously from the emotional heart of Mahler's Resurrection Symphony in a powerful performance from the LPO directed by Andrés Orozco-Estrada.

Bold choices married with family favourites for Proms Plus Family concert, but programming was not always matched by expression.

Neville Marriner conducts Christopher Palmer’s arrangement of a Walton film score, while Joshua Bell delivers magic with Max Bruch and the Academy of St Martin in the Fields.

Southbank Centre's The Rest is Noise festival came to an end with John Adams' oratorio El Niño, composed in 2000. The London Philharmonic Orchestra suited the piece well, and this was a performance to cherish.

It is pleasing to see concerts of music by living composers well attended, and such was the case at “A Timeless Beauty”, part of the Southbank Centre’s year-long celebration of contemporary music The Rest is Noise. This concert’s theme was “Politics and Spirituality”, and looked to the former Soviet Union for inspiration.Two composers on the programme provided contrasting examples.

The early 1950s were marked by the world premières of Prokofiev’s Symphony no. 7 (1952), Poulenc’s Piano Concerto (1950) as well as his Stabat Mater (1951). The most recent offering of The Rest is Noise series at the Southbank Centre encouraged us to place these pieces not just in the 1950s, but also in a wider political and cultural context.

Composed for the consecration of the new Coventry Cathedral in 1962, Benjamin Britten’s War Requiem is a monumental setting of the words of the Latin Mass, interspersed with the poignant poetry of Wilfred Owen.

Adoring and knowledgeable fans, lots of good humour and a tendency to wear silly hats: this description could fit any Proms audience, but Prom 2 was not quite the usual Prom. For one thing, the silly hats were mostly fezzes, and the audience’s expert knowledge extended to being able to identify the weird alien life forms that had invaded the Royal Albert Hall.