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A study of landscapes, freedom and love from the Anna-Maria Helsing and BBC Concert Orchestra, plus the world premiere of a Trinidadian concerto for orchestra. 

Alan Gilbert turns the usual concert format on its head, ending his program with Dvořák’s Carnival Overture to follow a trio of works new to the orchestra. 

Ellen Reid’s evocation of life under Covid restrictions captures its essence: boredom, frustration and seemingly endless continuance.

In a bold move, guest conductor Thomas Søndergård conducts three Atlanta premieres by late-Romantic Scandinavian composers.

Expert conductor Herbert Blomstedt and the Royal Concertgebouw Orchestra bring impeccable Mendelssohn, Brahms and Stenhammar to Brussels.

Beautiful, yet uninspired playing resulted in an underwhelming start to the New Year from the Oslo Philharmonic.

An evening of songs by Beethoven, Schubert, Schumann, Quilter, and several Scandinavian composers.

Soprano Lisa Larsson and pianist Roland Pöntinen dispelled the midwinter gloom with a heavy dose of Scandinavian Romanticism and the Dutch première of Rolf Martinsson's Songs on Poems by Emily Dickinson.

Leopold Tobisch's future expectations have been raised to a dizzying high by Kristjan Järvi and the Baltic Sea Youth Philharmonic at the Theatre des Champs Elysées.

In this Nordic year, a rediscovery of Wilhelm Stenhammar's First Symphony is a fascinating benchmark. Meanwhile, Steven Osborne completes the Beethoven Piano concerto cycle in a thoughtful performance.

The repertoire in Anne Sofie von Otter’s recital in Bodø Cathedral this Saturday was truly a mixed bag. Ranging 350-odd years, from the 1650s all the way up until the very present day, spanning four countries and as many languages, and joined by two accompanists – Mats Bergström and Svante Henryson – there was really no unifying theme to the recital.

Thomas Søndergård made his BBC Proms debut at the end of a successful first season at the helm of the BBC National Orchestra of Wales, bringing a hefty programme of Stenhammar, Szymanowski and Strauss to the Royal Albert Hall.It was a fascinating programme, with a first half of relatively underperformed works prefacing Strauss’ popular Alpine Symphony.

Perelman Stage at Carnegie Hall is by no means a modest-sized concert stage, and the Royal Stockholm Philharmonic Orchestra seemed to take up every square inch of it. The sheer size of the orchestra is initially what struck me, until the opening lines of Rolf Martinsson’s Open Mind, Op. 71.