Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Guildhall School of Music & Drama: Milton Court Concert Hall

The Academy of Ancient Music poses the question what might have been in Leipzig with stunning performances of Bach and his competitors to be the new Thomaskantor. 

Powerful Herbert Howells, together with affecting Shaw and engaging MacMillan from the BBC Singers, with the BBC Concert Orchestra conducted by Sofi Jeannin.

Tenor Ed Lyon fulfils a long-held ambition to sing Monteverdi's Eighth Book of Madrigals, conducted by his former teacher, Laurence Cummings at Milton Court.

Ovid’s Metamorphoses makes an ideal curtain-raiser to the Academy of Ancient Music's new season, with works by Charpentier and Rameau conducted by Laurence Cummings... who also sings! 

Countertenor Reginald Mobley and the Academy of Ancient Music shine in an alternative history of English Baroque, with a new work by Roderick Williams. 

Music from the court of Louis XIV – Lully, Jacquet de la Guerre, Rebel and others – is superbly played. But the attempt to put it in the context of the dances of the day is perhaps over-ambitious.

All six concertos in one evening at Milton Court, presented with verve and talent by the Academy of Ancient Music and Laurence Cummings. 

Expertly delivered Rachmaninov from Sofi Jeannin and the BBC Singers, with wild virtuosic instrumental and vocal displays from Abel Selaocoe. 

The Australian Chamber Orchestra brings music from Indie rock stars and the Polish composers who inspired them, with superb contributions from Guildhall students.

Two concerts at Milton Court intersperse The Four Seasons with concertos from L'estro armonico and sacred cantatas featuring countertenor John Holiday.

The wonderful acoustics of Milton Court proved to be the ideal setting for dramatic performances of rarely performance repertoire. With Igor Levit at the helm the evening was both technically challenging and artistically stimulating for audience and performers alike.

Richard Tognetti’s absorbing programme mixed Bach’s Goldberg Variations with Stravinsky and Adès, played impressively and with characteristic exuberance and finesse by the Australian Chamber Orchestra.

Thrilling and spellbinding experimental music for harpsichord and electronics, performed by Mahan Esfahani. 

From the claustrophobic intensity of Britten and Shostakovich to the sunny balm of Beethoven, this was an excellent recital. 

Mozart's final three symphonies make for a brilliant opening to the Australian Chamber Orchestra's London residency. 

New conductor Sofi Jeannin delights with her fresh thinking on choral concerts.

Vladimir Ashkenazy conducts the Southbank Chamber orchestra in a programme dedicated to the interpretation of classical dance forms.

What a great composer, and what a great advocate for his genius.

An intriguing programme marked by diversity and novelty from two world-beating ensembles. 

Pounding the 26 miles from Greenwich Park to The Mall wasn't the only marathon in London today. At Milton Court, Peter Donohoe ran his own marathon, tackling all ten sonatas by Alexander Scriabin.

American pianist Jonathan Biss explored the notion of late style in a programme of works by Schumann, Kurtág, Chopin and Brahms which revealed a common intensity of expression regardless of the composer's age.

With utter technical mastery, the ACO extract every emotion from a concert that gets progressively darker as the evening proceeds. 

A satisfying concoction of Italian concertos from the Academy of Ancient Music had Frank de Bruine leading the charge on oboe, with pristine performances also from violin and harpsichord.

Pianist Steven Osborne explored stillness in music in an intense and beautifully-controlled performance of works by American composers Morton Feldman and George Crumb.

Pierre-Laurent Aimard bought Messiaen's monumental Vingt Regards to life with vivid layers of sound and muscular energy.

In performing the Vespers in the acoustically wonderful Milton Court, Jeffrey Skidmore took the imaginative decision to interleaving its movements with solo piano works, played by Steven Osborne. It proved inspirational programming.

Neo-Romanticism, Modernism, and Post-Modernism run delightfully amok in the second night of the New York Philharmonic's Barbican residency.

Works by Locatelli, Hans Abrahamsen and Tom Coult accompanied Dmitry Sitkovetsky's arrangement of Bach's Goldberg Variations. 

Gluck’s ballet Don Juan is a rarity but sadly, the tame performance by the Academy of Ancient Music, part of its ‘Grand Tour’ series, failed to seduce at Milton Court. 

John Woolrich is a publically undervalued contributor to British musical life. This evening’s concert attempted to celebrate as many of the man’s musical guises as possible.

The Britten Sinfonia's tribute to Mozart fell somewhat flat, with only hauntingly beautiful Kurtág able to somewhat redeem passionless performances of Adams and Tavener.

Birmingham Contemporary Music Group are masterful, but chamber works lack context during the birthday celebrations at Milton Court.

Celebrating 40 years of championing the contemporary string quartet, the Arditti Quartet concluded a day-long marathon with six quartets from composers around the globe. Polished beyond belief, they gave mesmerising performances.

Appearing at Milton Court, Leila Josefowicz enclosed three short utterances from the 20th century with two works by Schubert. After a shaky start to the evening, Josefowicz turned out an impressive performance full of fire and flair, excelling in Stravinsky’s Duo concertant.

At London's new venue Milton Court, Kensington Symphony Orchestra played a mixed Bruckner 3 and an excellent Prokofiev concerto with soloist Nikolai Demidenko.

Violinist Pekka Kuusisto and Britten Sinfonia succeeded in creating a dynamic and captivating programme at Milton Court, with a series of works conceived as a whole and leading up to Britten's Serenade.

Despite the frequency with which the two composers are compared, Thomas Adès’ music seldom sounds very much like that of Benjamin Britten. But Adès has an uncanny knack of performing Britten’s music in such a way that it resembles his own.