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At the Festival Ravel, Bertrand Chamayou, Pierre-Laurent Aimard and Hyunji Kim perform all the solo piano works at the Église Saint-Vincent, a stone’s throw from the house where Ravel was born.

The charismatic Ustina Dubitsky leads EIC in first-rate performances, including a world premiere from Katherine Balch, to support of Wigmore Hall's flagship ‘Voices of Today’ initiative.

What does opera in the 21st century look and sound like? Streets removed from anything Mozart, Verdi or Wagner would have recognised. But Salvatore Sciarrino is his own man.

Jürgen Flimm bowed out of his role as Intendant of the Berlin State Opera with the German premiere of Salvatore Sciarrino's Ti vedo, ti sento, mi perdo.

Fabio Luisi led The Cleveland Orchestra in Bruckner’s mighty Fourth Symphony, prefaced by a recently composed piano concerto by Sciarrino with Jonathan Biss.

The work takes its inspiration from the life of the little known Italian composer Alessandro Stradella who ended his life stabbed by killers sent by the husbands of his innumerable mistresses.

A questionable performance of Schumann's Violin Concerto was redeemed by lively interpretations of Beethoven's Third Symphony and Tchaikovsky's 1812 Overture.

The Orchestra dell'Accademia Nazionale di Santa Cecilia's second performance of the weekend at Carnegie Hall featured compelling Salvatore Sciarrino and a heavy-footed Mahler 6.

D'Orazio proved in a program that included Berio's Sequenza VIII why he is a leading exponent of contemporary violin composition.

Works by Robert Schumann, Salvatore Sciarrino and Franz Schubert showed the members of a dynamic configuration to be as finely tuned to one another as each was to their instrument.

John Woolrich's Songbook project provided the vocal material on show at the Birmingham Contemporary Music Group recital at Wigmore Hall, featuring sopranos Gillian Keith and Rebecca von Lipinski.

With a debut opera for ENO in the pipeline for next year and residencies with both Wigmore Hall and the London Philharmonic Orchestra, things are currently looking bright for Julian Anderson. To celebrate this, Wigmore Hall turned 2 November into Julian Anderson Day, devoting two concerts and a talk to exploring his music.

Music Theatre Wales’ production of Salvatore Sciarrino’s The Killing Flower begins in darkness. Michael McCarthy’s highly stylized production fits with the music, which is a fitting interpretation of extreme emotions: love that knows no control and no reason.

For its season finale, Soundings: New Music at the Nasher presented violinist Anthony Marwood and pianist Aleksandar Madzar in a program advertised as “a dialogue of caprice and masterpiece.