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A brief but excellent programme of five duets showcased on the main stage of the Den Norske Opera.  

Overall, Light of Passage is one of those glorious pieces where music, choreography and design meld together to make theatrical magic.

A very impressive outing for the young Canadian pianist, who brings some of the old school magic of an Arthur Rubinstein to his Chopin. 

Norwegian National Ballet's highly entertaining double bill of two of Mats Ek's most popular works is enthralling.

The Silesian String Quartet provides eloquence, deft touches and rich sounds to quartets by Moniuszko, Weinberg and Górecki at London's Wigmore Hall.

House debutants, soprano Nicole Chevalier and conductor Lidiya Yankovskaya, excel in Isabella Bywater's Górecki staging to close English National Opera's season.

Powerful and thoroughly absorbing living art. 

The latest double bill from Staatsballett Berlin features witty, high energy and thought provoking works by Mats Ek and Alexander Ekman, though the audience may not fathom their meaning.

Pite's first full-length ballet at the Royal Opera House is a brief but powerful work, expanding her 2017 creation, Flight Pattern. 

Six pieces, all of them different, all of them new to the Proms, most by living composers, and all played superbly. A great contemporary music Prom.

Anna Tsygankova is clearly enjoying her part in Forsythe's Pas/Parts 2018, an exposé of the vocabulary of modern ballet.

A mixed bill of modern work showcases the diverse talents of The Royal Ballet.

A seamless aesthetic of elegant and fluid dance, impressive musicality and impactful design 

Elizabeth Atherton sang with a keening intensity, and gave a voice to every grieving mother and child.

The highlight of a week-long musical project of the Szczecin Philharmonic entitled We are at home, a celebratory performance of Górecki's Symphony No. 3 by Szczecin Philharmonic Orchestra under the baton of Wojciech Michniewski.

The complex world of Górecki, Bacewicz and Cytż is contrasted with Dvořák and Chopin as The Scottish Ensemble embarked upon an Eastern European journey with guest director Bartosz Woroch.

Misty Copeland curates the first of a richly diverse programme celebrating American dance

A world premiere that gives yet more credence to the burgeoning reputation of Crystal Pite for creating absorbing mass movement of considerable beauty 

Nesterowicz and the NSO deliver a stunning Shostakovich Symphony 10 while Vähälä captivates with the magical delights of Vasks' Distant Lights.

Polish composer Grażyna Bacewicz’s seven minute Divertimento proves the most emotionally potent in a concert at the Baltic Sea Festival also featuring works by Shostakovich and Górecki.

Mats Ek pours his heart and soul in to the most ungainly gestures, and his last programme in Paris is a fitted farewell.

Phoenix Dance Theatre is an intriguing mix of international and, at the same time, Leeds-based contemporary dance company. It's triple bill at the Linbury Studio proved worthwhile. 

On this Montréal concert, visiting conductor Cristian Măcelaru presented Copland’s Fanfare for the Common Man and Gorecki’s Symphony of Sorrowful Songs to mark the 70th anniversary of World War II

Program Two of the Fall for Dance festival , at New York City Center, is an ionic choreographers' digest. With works by Child's, Forsythe (For Semperoper Ballet Dresden) Ramirez -Wang and Naharin (for Alvin Ailey American Dance Theater).

The Holst Singers perform a rich programme of Russian music at Temple Church.

Southbank Centre's The Rest is Noise festival continued its focus on politics and spirituality with Henryck Górecki's popular Third Symphony, coupled with Krzysztof Penderecki's lesser-known Violin Concerto – but it was the latter work which fared better.

For years now, Henryk Górecki’s Third Symphony has been at the head of my bucket list of works to hear in concert – and this Prom with the BBC Symphony Orchestra and conductor Osmo Vänskä gave me the chance.

Choral concerts often have programmes that read like compilation CDs. I don’t mean this negatively: there are countless reasons why a greater number of contrasting pieces is required – timbral, textual, temporal, contextual, historical, and so on.

A very striking wild-eyed hirsute man has been staring out at us across Scotland on posters for this concert tour, showing that the Scottish Ensemble has adapted well to the modern world of promotion, using titles, straplines and imagination. On the face of things, the choice of eight seemingly very disconnected pieces in the programme, from 1700 to the present day, was disconcerting.

St Giles’ Cathedral, at the top of Edinburgh’s Royal Mile, boasts a wonderful acoustic. From the chancel of this magnificent building a string quartet, drawn from the Red Note Ensemble’s flexible and varied forces, presented a late-evening, candlelit programme of meditative music entitled, Hymn of Thanks (Transcendence).

This concert by Poland’s national orchestra, the Warsaw Philharmonic, attracted a near-capacity audience which had in it a fair sprinkling of members of the local Polish community, judging from overheard conversations and some shouts of “Jeszcze raz!” (“More!”) at the end.

Simplicity is beautiful. The one year anniversary of Polish composer Henryk Mikolaj Górecki’s death could not have been greeted with more of a celebration of his life than through the Polish Radio Choir’s UK tour of his choral works.

On Tuesday night at Cadogan Hall near Sloane Square the audience was treated to an expertly mastered programme of 20th century Polish music by Górecki, Lutoslawski and Szymanovski as well as the Overture, St. Francis of Assisi by Sir Peter Maxwell Davies. The latter had its London premiere that night.

Jan Lisiecki mostró su personalidad como intérprete y sus características más auténticas especialmente en el bloque dedicado a Górecki y a Messiaen, mientras que el resto del programa resultó falto de emotividad y dirección.

Dans un programme conceptuel sous-titré « Prélude aux Préludes », le pianiste canadien a déçu, notamment dans des Préludes op. 28 de Chopin plus qu'approximatifs.

In einem rein polnischen Konzertprogramm begeisterte Dirigent Krzysztof Urbański die Hörer auch mit wenig bekannten modernen Werken.

L'art du duo est à l'honneur au Théâtre des Champs-Élysées dans le cadre de TranscenDanses, avec des pièces courtes mais intenses de Mats Ek, Samantha Lynch, Akram Khan et Sharon Eyal.

La chorégraphe signe des ensembles magistraux dans son habituelle esthétique mystique et prouve une fois de plus qu'elle est une immense artiste, même si son triptyque aurait pu tenir un propos plus incisif.

Von Brahms und Balanchine bis Górecki und Childs: das Wiener Staatsballet zeigt einen zeitlosen Abend.

La Compagnie La Tempête et son fondateur Simon-Pierre Bestion proposent un spectacle immersif, dans la musique de Bach et ses échos chez les compositeurs minimalistes.

L’impressionnante Quatrième Symphonie de Górecki se sera fait attendre. L’oeuvre fut achevée en 2006, mais il a fallu que ses enfants retrouvent une esquisse complète de partition des années plus tard pour qu’elle prenne vie, puisqu’à sa mort en 2010, le compositeur ne la jugeait pas encore prête.