Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Smith Square Hall

Die Streicher des LCO spielten engagiert und hatten sichtlich Spaß am Auf und Ab Graham Fitkins Komposition.

Paul McCreesh fand mit seinem Ensemble eine herzerwärmende Mischung universell wohltuender Festlichkeit.

Alessio Bax's inaugural London Festival of Chamber Music sets off with a spring in its step.

It's not Christmas without Handel's Messiah, and in the delightful Smith Square Hall, the oratorio is given a staging by Wild Arts which may not completely convince, but moves nonetheless.

Arcangelo's dazzling creativity, superbly marshalled by the charismatic Jonathan Cohen, gives a gold medal performance of all six Brandenburg Concertos to launch the London Festival of Baroque Music.

A star-studded group of soloists and a wonderful choir make for an interesting, if not always convincing, interpretation of Bach's joyous oratorio. 

Whether surrounded by lanterns and weapons, or musicians and fellow congregation members, one is deeply involved in this work.

In the Baroque splendour of a church fondly-known as Queen Anne’s Footstool, the band entertains an appreciative audience to nine of the finest things they currently have on offer.

The Tallis Scholars return, better than ever, in this full-length streaming concert.

In an all-Beethoven celebration, the London Mozart Players offer a lively rendition of the Coriolan Overture and young Greek-born violinist, Jonian-Ilias Kadesha, performs the Beethoven Violin Concerto with earnest enthusiasm.

A lithe and engaging performance of Handel's festive regular from Polyphony and the Orchestra of the Age of Enlightenment.

Hespèrion XXI dazzle us with virtuosity as they celebrate musical Europe in the heart of Westminster.

A fine concert, the first in a series celebrating the bicentenary of Clara Schumann's independent musical mind.

It is a well-known fact that Beethoven's Septet was one of his most popular works during his lifetime. What is lesser known is that Carl Czerny, his pupil, made a version for wind sextet.

Why don’t brass ensembles have a regular presence in the classical concert scene, in comparison to string ensembles or at least woodwind ensembles? 

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

A Lenten programme of 17th-century French and Italian sacred music partially fulfilled its dramatic potential in refined, understated performances. 

The Chinese American pianist gives a confident, purposeful performance, without his personality quite shining through.

Handel’s opera Orlando is famous for the great mad scene at the end of Act 2. Specifically written for the celebrated castrato Senesino, it’s an emotionally powerful ten-minute monologue.

Ukrainian pianist Anna Fedorova gave compelling performances of Chopin’s profound Ballades and intricate Waltzes, full of intensity, dreaminess and frenzy.

The City of London Sinfonia presents an absorbing account of Tavener's musical ecumenicism. 

James Ehnes, Steven Osborne and Alban Gerhardt captured the lamentations of Shostakovich's Second Piano Trio before they were joined by clarinettist Jean Johnson for Messiaen's quartet at St John’s Smith Square.

Suffering, forgiveness, and natural brass in a brand new dramatic oratorio

In this year's London Festival of Baroque Music, the programme of Austrian Baroque rarities by Swiss-based early music group Les Passions de l’Ame particularly caught my eye.

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.

Philip Sawyers’ Third Symphony imposing but tightly argued, and given a compelling first performance by Kenneth Woods and the English Symphony Orchestra.

The bicentenary of Méhul's death in 1816 was used by the Orchestra of the Age of Enlightenment, along with the enterprising Palazzetto Bru Zane, to showcase his music in a varied and entertaining programme.

An unusual pairing of works for two pianos by Brahms and Messiaen created a concert of unexpected contrasts, rich textures and exceptionally virtuosity.

Jordi Savall's returns to 1991 film soundtrack and captivates a full house at St John's Smith Square.

An intelligent programme from Benjamin Grosvenor, demonstrating his virtuosic command and stylistic range.

It's likely that Mozart never actually heard his Clarinet Concerto performed. That fate, happily, has not been shared by Michael Gordon, who has heard Peter Whelan perform his new bassoon concerto Observations on Air four times this week. 

The London Mozart Players and a talented company of singers presented a special chance to hear a rare, unfinished Mozart opera in an even rarer guise. 

A highly memorable all-Chopin evening from Ingrid Fliter, with great physicality, fire and expression.

Having watched the web live-stream of Seong-Jin Cho’s performances at last year’s Chopin Competition and subsequently listened to the live CD as well, I already had a fair idea of his playing.

Bach: Sacred and Secular became the focus for a creative partnership between Bach scholar John Butt and the Orchestra of the Age of Enlightenment.

An elegant venue with a fine acoustic and a beautiful Steinway piano, coupled with one of the UK's most gifted pianists active today made for an evening of music making of the highest calibre.

The Baroque credentials of St John's Smith Square were thoroughly endorsed in a beautifully proportioned concert by the Orchestra of the Age of Enlightenment directed by the doyenne of British Baroque violinists, Rachel Podger.

Unlike his better-known contemporaries, Czech composer Zelenka has faded into obscurity, Spirato! and Barts Chamber Choir made an extremely persuasive case for this highly original music. 

Five star reviews are flowing Arcangelo’s way. It’s easy to see why. Five years after it was founded by Jonathan Cohen, the quality of this zestful ensemble just keeps soaring. 

  Celebration of 20th century and contemporary piano music ends with a focus on team spirit as Hind is joined by friends for Pierrot Lunaire.  

Hashimoto is clearly a brilliant technician, but often felt overly cautious in this St John's Smith Square programme.

Gansch and Martineau fail to dazzle in an unchallenging programme of bucolic and playful Lieder.

A recreation of the choral sound Vivaldi may have experienced at the Ospedale della Pietà in Venice doesn't quite come off. 

Le 16 mai, Carolyn Sampson et l'Ex Cathedra Consort and Baroque Orchestra donnaient un programme construit autour de la figure de Marie Fel, grande soprano du 18ème siècle. Un hommage tout à fait intéressant malgré une interprétation un peu monochrome.

Amadè Players’ concert entitled “Forgotten Vienna” was conceived by the conductor and scholar Nicholas Newland, who has a strong affinity with the music of eighteenth-century Bohemian composers.

Lucy Crowe and Tim Mead give a thoughtful rendition of Pergolesi's Stabat Mater at a Lenten concert by La Nuova Musica at St John's Smith Square.

Where lies the boundary between musical performance and performance art? With more and more musicians choosing to incorporate digital or multimedia elements into their performances, concerts are increasingly defying easy categorisation.

Channelling Conchita Wurst in its starring role, the Early Opera Company's production of this rare Rameau opera is bursting with laughs and memorable performances from a strong young cast. 

A beautiful evening of rare and royal music by Gluck, in the year of his 300th anniversary, and even an even rarer setting of Orfeo by Bertoni: it was just a pity we couldn't follow all the words, as well as all the notes, at St John's Smith Square.