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Sir Antonio Pappano's skills as a communicator are clear, whether he's speaking or conducting, but it's the depth of the LSO's sound that impresses most as it launches its EIF residency.

Jamiel Devernay-Laurence's Ballet Nights series is growing rapidly in appeal, just one year after its launch. With ever more ambitious projects afoot and a packed Cadogan Hall, it's worth seeing.

Six talented finalists light up the final of the prestigious Norwegian singing competition

Conductor Yannick Nézet-Séguin and soloist Yo-Yo Ma stuck to the tried and true while ushering in a season "transformed and informed" by the pandemic's impact.

Unlike many of his peers at the concert grand, Grosvenor kept histrionics to a minimum as he plays a well-programmed London recital. 

French Baroque from a 20th-century perspective as well as the real deal with François Couperin's hommage to Jean-Baptiste Lully. 

A mixed performance from Bonn, but there was magic from Barenboim's fingers in the Third Piano Concerto.

Corelli and a triple-decker sandwich on the south coast, with three arias from Handel’s Messiah separated by two concertos from Vivaldi’s Four Seasons.

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

Trying to rekindle the public’s interest for a rarely played work, Salonen and his collaborators took an unusual approach.

Lightness of touch and attention to detail from Benedetti, and tight ensemble and grace from Kuusisto and the Philharmonia in the Second Symphony.

The Bournemouth Symphony Orchestra offers sweeping early Beethoven and a 250th birthday tribute by Magnus Lindberg.

Directed by Gerard McBurney, this concert recreated the marathon Akademie conducted by Beethoven in Vienna which saw the premieres of four major works. 

Works by Still and Ellington make their welcome appearance at Disney Hall, but the presentation left a bit to be desired. 

Two world premieres from Mark Bowden and Colin Matthews breath life into the Southbank's Queen Elizabeth Hall.

A remarkable feat of memorisation – a whole orchestra and no music! – made for an illuminating and exciting introduction to the Soviet composer's “victory” symphony.

Experiments in music and ideas brought together by the London Sinfonietta and guests at a special concert all about space and time.

High wire Beethoven from Nicolas Collon and the Aurora Orchestra, truly live in every sense, with an entertaining deconstructed introduction from Collon with Tom Service.

Give Larissa Savaliev full credit for all the work she’s put into this over the years. YAGP is and will continue to be the number one dance competition in the world.

Handel arias showcased by non-Handelian soprano and great ensemble Il pomo d'oro, with commentary by Donna Leon.

Music-making in the concentration camp at Theresienstadt/Terezín continues to fascinate, baffle and inspire us.

Barry Humphries’ Weimar Cabaret – a witty, urbane valentine to the musical culture of Germany in the 1920s and 30s, from the opera house to the concert hall to Berlin’s revues and cabarets.

Nicholas Collon and his Aurora Orchestra remind us that classical music is still made by us, for us, in Rihm, Strauss and Mozart.

Here's a winning formula to pack a concert hall for a Saturday night organ recital: book one of the country's best-known actor-managers to front the evening, invest in televisual effects, and write a good script. 

A universal story of sufference and ‘the music of experience’.

The Royal Philharmonic Orchestra under the baton of José Serebrier concoct images of iconic movie scenes in audiences' minds in a concert of classic film scores. 

Music and words combined to recreate Jarvis Cocker's quirky radio programme Wireless Nights in this Prom with a distinctly watery theme.

The BBC Concert Orchestra and Sir David Attenborough explore the mysteries of life in the Life Story Prom.

The BBC Concert Orchestra and Barry Wordsworth were joined by Stile Antico, Jack Liebeck and Christine Rice in an exploration of the musical mind of fictional detective Sherlock Holmes. 

Superb appearances from Stormzy and Wretch 32 were highlights of a well-constructed evening of grime from BBC Radio 1 Xtra, displaying the genre in all its troubled glory. 

An interminable evening of self-regarding narcissism doesn't bode well for the supposed future of classical music: luckily, other options are available. 

Pete Tong's Ibiza Prom was at once accessible and authentic, uncompromising in its commitment to the art of dance, rightly unapologetic and unabashed by its unfamiliar surroundings. Long may we continue.  

The world premiere of Naughty Boy's new track Runnin', featuring the superb Arrow Benjamin, made a high point in an otherwise gawky and under-rehearsed Prom programme from the BBC Asian Network. 

The BBC's Ten Pieces project culminates in a spectacular Proms event, some of it confusing for adults, but all well-received by the children.

The renowned chamber ensemble from Berlin treat a young Royal Festival Hall audience to a dazzling around the world trip. 

In an innovative concert experience, John Adams curated a night of living composers to shine the spotlight on his favorite new works, answering the question: “Who’s on John Adams’ playlist?”

Hyde Park's Last Night of the Proms is a marathon specatcle, with highlights from Earth Wind and Fire, Rufus Wainwright and land lubbing ensemble The Fisherman's Friends.

This Late Night Prom put together a Battle of the Bands between two groups of musicains to represent the bands of Count Basie and Duke Ellington. Basie's and Ellington's bands never in fact battled it out in real life, so this showcased what might have been.

A kids’ TV format transferred to a Proms concert offered plenty of entertainment for the target audience, but precious little music.

This was the first time I've been to a concert with a 10:30 kick-off, but then this was the first of its kind. Nor did the inaugural Sport Prom turn out to be merely a game of two halves...

Arnold Schoenberg’s 1912 melodrama Pierrot lunaire is a work of many paradoxes. The main character, Pierrot, is a man usually sung by a woman; the instrumentalists serve both as soloists and as an accompanying orchestra; it is performed using a style of singing more akin to stylised speech than actual singing; and it straddles the divide between high art and cabaret.

So begins the fifth year of Alan Gilbert’s quest to make the New York Philharmonic the very model of a modern symphony orchestra: a concert in which the music director spent the vast majority of this time seated stock still; in which the luckier of the musicians spent most of their hours looking up at a big screen; and in which the audience spent most of their evening entranced by visuals and jump

Hot on the heels of the Urban Classic Prom came this, the BBC 6 Music Prom. Yet another first in this year’s Proms saw BBC Radios 3 and 6 Music bring together the likes of Cerys Matthews, Laura Marling, Xenakis, The Stranglers, Varèse and the London Sinfonietta, and produce a programme comprising styles that might loosely be described as “alternative”, from the fringes of pop to punk rock via mode

Have you ever been, dear reader, to one of those giant churches in the American South – the type that seats ten thousand and where every service is a major musical extravaganza? Well, no, I haven’t either, as it happens, although I used to make sound equipment for them.

Adoring and knowledgeable fans, lots of good humour and a tendency to wear silly hats: this description could fit any Proms audience, but Prom 2 was not quite the usual Prom. For one thing, the silly hats were mostly fezzes, and the audience’s expert knowledge extended to being able to identify the weird alien life forms that had invaded the Royal Albert Hall.

This Wednesday, London Sinfonietta presented Luke Bedford: In Portrait – a concert with a format that seemed almost too good to be true. In a short programme combining Luke Bedford’s Wonderful No-Headed Nightingale (2011–12), Renewal (2012–13) and Gérard Grisey’s Périodes (1974), conductor Sian Edwards and the London Sinfonietta beckoned us into a world of shifting soundscapes.

For the last concert of her Perspectives series at Carnegie Hall, Renée Fleming assembled one of the least coherent concept programmes imaginable. Billed as “Vienna: Window to Modernity”, it was never clear what was specifically Viennese about the music on show, nor what was particularly modern, nor what windows had to do with anything.

Oxford May Music has been fusing arts and science for six years now. Thursday’s concert was evidence of this interdisciplinary ethos. Themed around “The Planets”, the evening combined a two-piano version of Gustav Holst’s suite with a talk by physicist Brian Cox.

When one sees the word “Erotica” in connection with classical music, one is usually safe in assuming that it’s a misprint in the title of Beethoven’s Third Symphony. And yet, at the Australian Chamber Orchestra’s concert on Saturday, it was no Freudian slip: Erwin Schulhoff’s Sonata Erotica, which the composer suggestively marked “nur für Herren” (for men only), was on the program.

Birmingham Contemporary Music Group is celebrating its 25th anniversary this season, and as it does so it is marking the anniversary of Benjamin Britten’s birth. BCMG is touring a programme of Britten’s early compositions, the second stop of which was at Turner Sims in Southampton.John Woolrich, BCMG Artist-in-Association, was introduced as a “master programmer” by the Turner Sims representative.