Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Feu d'artifice (Fireworks), Op.4

Sir Simon Rattle erkundet unbekannten Stücke und Lieder sowie Edelsteine aus späteren Schaffensperioden.

In the last of the LSO's Sydney concerts, Sir Simon Rattle's affinity with Bruckner's score results in a heartfelt performance of the Seventh Symphony.

Sir Simon Rattle's “Stravinsky Journey” threads a string of miniatures to persuade the audience that there's more to Stravinsky than his three early Ballets Russes hits. 

Stefan Jackiw makes Britten's Violin Concerto sing, but Thomas Søndergård's RSNO Rite of Spring is too well-behaved and David Fennessy's Riot Act is dull.

In an all-Russian matinee, the Philharmonia presents excerpts from Tchaikovsky’s ballet that lack a dance element, but Rachmaninov’s First Piano Concerto soars.

Chinese composer/conductor Tan Dun presented colourful works both he and another compatriot had composed together with pieces by Stravinsky.

His fans presented him with not one but two impromptu birthday serenades before and after the Brahms. "I'm getting old," Gustavo admitted ruefully to his public. He's only 36. 

Franz Welser-Möst leads a compelling performance of the seldom-heard Threni.

Benjamin Northey and Andrea Lam team up with the MSO for a festive evening of Vaughan Williams, Chopin and Holst.

Lang Lang's Prokofiev was ostentatious, but it was Duoit's visionary take on The Firebird that was truly the standout.

Pianist Joela Jones gives a virtuoso solo performance in Messian's *Couleurs de la cité céleste*.

In a quirky programme featuring English, Welsh and Russian music the BBC National Orchestra and Chorus of Wales began their new season at St David’s Hall showcasing, with mixed results, their composer-in-association Huw Watkins, Elgar and three Russian composers at different stages in their careers.

Baldur Brönnimann conducted a storming performance of Shostakovich's “Leningrad” Symphony after a bold and original Tchaikovsky First Piano Concerto from Ryan Drucker.

Concert programmes at the Proms often lean toward music of significant scale and heft. The requirement to fill the huge Royal Albert Hall, as well as capturing listeners’ attentions across the airwaves and in many different countries, means that huge expeditions, such as this year’s Ring cycle, are a perfect fit for the festival. Prom 44 was massive too, in its own way.

A packed hall, including several primary schools and a handful of mayors, attended for a 20th-century triptych. One suspected that most were there for Holst’s The Planets, but it was the first half’s Stravinsky and Shostakovich which were most revelatory tonight.