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A fitting farewell for Leif Ove Andsnes' Rosendal Chamber Music Festival: imaginative programming and excellent performances in an inspiring setting. 

One of the Lammermuir Festival's miniature miracles: Véronique Gens and Joseph Middleton present an evening of French chansons in the East Lothian countryside. 

Heinrich Heine settings by Schumann and Schubert are counter-balanced by Duparc and Cole Porter in a Temple Song recital reflecting on night and day.

The French pianist steps in to join the American diva in the Musikverein for a program of French and German art song. 

From Fauré and Duparc to Barber, Ives and Copland, the Canadian bass-baritone and Julius Drake explore a range of song.

The two French singers convince in a programme including French late Romantics, Richard Strauss and a Verdi world premiere!

Jamie Barton and Kathleen Kelly offer a thought-provoking meditation on women as they are portrayed and as they portray themselves.

The performance of the young French mezzo-soprano was admired more for its correctness than for its seductiveness.

Here was singing and playing to live long in the memory.

If Chest is not yet the finished article, he’s damned close.

The second half was all about Ravel and Adrian Brendel.

The opening of the Duparc rippled diaphanously in Martineau's hands as the seductive but pure silver of Karg's voice.

Soprano Elizabeth Watts brought tonal richness and energy to an evening of French song with texts by Théophile Gautier, but her expressive arsenal was diminished by a bout of flu.

Poise, control, stillness. Within two minutes of her Wigmore Hall debut, the qualities that make Elīna Garanča a consummate Lieder recitalist were evident.

Elina Garanča was alluring in a lovely recital of Brahms, Duparc and Rachmaninov with pianist Malcolm Martineau. 

Anna Caterina Antonacci's rare appearance in New York was another rewarding occasion to savor, with a recital of French songs followed by an unforgettable performance of Poulenc's La voix humaine.

“The show must go on.” Carlo Colombara stepped into the breach caused by Simone Piazzola's indispostion to give a Rosenblatt Recital that only fired intermittently.

Tézier, with his beautifully full, easy baritone sound and reputation for attention to diction is a singer I have appreciated on stage for some time and was looking forward to his rising to the challenge of a solo evening with his audience. 

Natalie Dessay’s recital at the Maison Symphonique last night should have been an art song lover’s dream come true. Instead the audience was treated to a bizarre spectacle of over-expression and under-singing.

The first part of the Celebrity Recital which brought the Leeds Lieder Festival to a close was entitled “Schubert Looking North”, which included a section on German versions of British poets.

Twentysomething Philippe Sly wields an impressive voice. Like the mythical John Henry’s hammer, it rings like silver in the upper register, the middle shines like gold, and his bass is firm as iron. From the second line of Henri Duparc’s “Chanson Triste” Sly interested with his way of rolling out phrases, englobing lines in cavernous spaces.

Susan Graham is the mezzo representative of the generation of American singers, including Barbara Bonney, Renée Fleming, Dawn Upshaw and Sylvia McNair, who rose to prominence in the mid to late 1980s and distinguished themselves internationally with their superlative techniques, gorgeous lyric instruments, and impeccable professionalism.