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Criss-crossing and climbed the narrow streets of Balat, the “Music Route” takes in some of the city's hidden gems for intimate chamber recitals. 

The RLPO with their new chief conductor herald a return to full-scale orchestral performances with an evening of dances, plus Clara Schumann's far too rarely heard Piano Concerto. 

There was never any hint of over-sentimentality in the playing of the Bournemouth Symphony Orchestra's artist-in-residence. 

It's a rare treat to hear Spanish opera in London; Josep Pons and the BBC SO made a worthy case for hearing Falla’s El amor brujo and Granados’ Goyescas more often.

The pianist’s ability to easily bring out the melodic qualities, the shifts in mood and color from amidst the swirling pyrotechnics is remarkable for someone so young.

The Katona twins guitar duo conjured up the many moods of Spain and South America in a lunchtime recital of music by Falla, Albéniz, Granados and Piazzolla.

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

Juxtaposing Granados’ sensuality with the miserable story of Suor Angelica functioned by contrast, as they do not have anything in common.

Both composers whose music was performed in Garrick Ohlsson’s Sydney solo concert were motivated by other artists, namely painters, thus an originally visual experience became audial in the resulting compositions.

Kissin's always stellar recital highlighted by a selection of works from Spain.

Mezzo-soprano Isabel Leonard paints Carnegie Hall in the high colors of Spanish folk music, accompanied by classical guitar player, Sharon Isbin.

If we consider Domenico Scarlatti an honorary Spaniard, since half of his life was spent there, then this was an entirely Spanish programme. 

A series of cancellations resulted in an unusual triple bill: a rare Spanish opera, an impromptu concert by Plácido Domingo and Woody Allen's brilliant Gianni Schicchi.

Angela Hewitt's Spanish Lanscapes offered perfect summer fare delivered with flawless execution.

An inconsistent but ultimately satisfying recital from Benjamin Grosvenor in Rameau, Bach, Franck, Chopin, and Granados.

In collaboration with the Montreal Museum of Fine Arts, musicians of the Orchestre Symphonique de Montréal presented late 19th century chamber music of Spanish and French composers. 

What a treat to discover the 1901 Arts Club  and to be treated to such an intimate and enjoyable evening of music making with the Erato Piano Trio and friends. 

Benjamin Grosvenor presented a fascinating programme of works, demonstrating a profound musical intellect.

An intriguing combination which mixes up together the exuberant sensuality of Granados’ one-act-opera, the gloomy shades and the melancholy liturgy of Suor Angelica.

Milos Karadaglić, one of the world's leading guitarists, entertains an enthusiastic Amsterdam audience in a programme of Bach and Spanish favourites. 

Five vital young men from top international ballet companies hit the stage of the 
London Coliseum in Kings of the Dance.

For whatever reason, performers have always seemed to fear the fourth wall. They are content to let their music speak for itself, and any attempt to address the audience verbally is often considered lowbrow. This makes sense in some regards, as it facilitates the image of performer as master and lends artistic integrity to the music.

If Benjamin Grosvenor were a wine, his tasting notes might read something like: “an outstanding early vintage, this is already a fine, well-balanced red, with subtlety of flavour. Can be quaffed now though should mature exceedingly well.

Young British pianist Benjamin Grosvenor has been much in the news lately: the recipient of two Gramophone Awards (Young Artist of the Year and Instrumental Award for his debut disc), and winner of the Critics’ Award at the 2012 Classic Brits. And he’s in great demand as a performer, if his diary is anything to go by.