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The Royal Philharmonic Orchestra’s BBC Proms matinee proves an ideal opportunity to demonstrate their strengths in a programme of Respighi, Milhaud and Vaughan Williams. 

A tribute to John Coltrane highlights an adventurous outing by The Cleveland Orchestra led by cosmopolitan conductor Stéphane Denève.

Schoenberg's modernist masterpiece gets lost in a fog of words and feral newsprint at the Southbank Centre's Purcell Room. 

Joseph Swensen shoogles and swings in Poulenc and Milhaud in an exploration of different musical cultures and a fusion of classical and jazz.

French music, Mozart and Schumann make effective bedfellows in a concert presented as part of the Voilah! France Singapore Festival.

The Finnish composer/pianist's refined and idiosyncratic musical style makes for a great collaboration with the ACO solo string players.

In Boston, an inventive program of Ravel, Honegger and Milhaud explores the Parisian musical melting pot of the 1920s and 30s.

Ludovic Morlot conducts a French and Russian programme in Manchester, with a thrilling performance of Ravel's bimanual piano concerto by Steven Osborne as the highlight of the evening.

Capable of being defiant when needed, Kopatchinskaja impresses with the seemingly infinite timbral variety of her pianissimos.

Jean-Guihen Queyras is the soloist in Lalo's rarely performed Cello Concerto. 

A joyful evening of Franco-Brazilian dance music with Royal Northern Sinfonia and Jess Gillam as part of Sage Gateshead's New Year New Music 2019 festival.

Nestled in the alps, Musikdorf Ernen’s chamber music festival concerts recently began its annual Kammermusik Plus weeks with works that showcased some extraordinary young talents.

The opera can be summed up by a line sung by the Countess in Act 4: “You’re killing her with all this noise.”

Milhaud reported “a spirit of carefree gaiety reigned” in 1920s Paris, a spirit Marcela Roggeri and François Chaplin's varied programme aimed to evoke.

Music, singing and movement blend together in a powerfully moving double bill of French Tragedy, Les Malheurs d’Orphée and Le Vin herbé  at the Royal Conservatoire of Scotland.   

A remarkable evening of exceptionally fine pianism and inventive programming, featuring seven of the UK's leading pianists in rich and varied repertoire.

I have no objection per se with naked women bathing in blood, masturbating to crucifixes or being flagellated by priests in confessional booths, but only if it somehow aids understanding of the story

After Life, a new opera by Tom Cipullo and David Mason that was commissioned by Seattle-based Music of Remembrance, imagines a posthumous confrontation between Gertrude Stein and Pablo Picasso and poses meaningful and moving questions about the power of art.

Always with an eye for the unusual, The Hebrides Ensemble surpassed themselves brilliantly with a lively programme of Amerian influenced music, including Elvis on bassoon.

The “Masterworks Series” at Bargemusic, featuring such diverse composers as Bach, Stephen Foster, Tan Dun and Gunther Schuller, gave audiences a welcome break from the oppressive New York humidity Sunday afternoon.

Regeneration is currently at the heart of everything that goes on inside the beautifully preserved Charlton House. Built between 1607 and 1612 by Sir Adam Newton, the building and its grounds remain a fine example of Jacobean domestic architecture.

When we think of America, Dvořák and Milhaud are not among the first set of composers to come to mind, but it turns out they deserve to be among the second.

When I collected my ticket for this evening’s Late Mix concert in Hall Two of The Sage Gateshead, I was somewhat surprised to see it marked as unreserved seating. A computer glitch, I thought, until I walked into the hall and found that the usual rows of seats in this small, in-the-round auditorium had been replaced with café-style tables and chairs.

Pianists Charles Owen and Katya Apekisheva presented a lively recital programme in what might be better described as ‘an orchestral concert for two pianos’; such was the range of sounds the two were able to conjure from their instruments.Milhaud’s Scaramouche Suite was a frothy, joyful opener, as one might expect from a member of ‘Les Six’ in a work based on theatrical music.