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Jake Heggie's Dead Man Walking represents Freeze Frame Opera's best production to date, with a powerhouse performance by founder soprano Hattie Marshall. 

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.

Kamala Sankaram's Custom of the Coast follows the twin narratives of Anne Bonny and Savita Halapannavar, real women separated by two centuries. 

The violinist (and, for tonight's purposes, conductor, stage director and performance artist) gives a rare and precious concert in Saanen’s beautiful church.

The Estonian Festival Orchestra is on scintillating form in a rare outing for Roma, Bizet's own “Italian Symphony”.

Baritone Benjamin Appl and accordionist Martynas Levickis tour Europe and the USA in songs and solos demonstrating both the richness and simplicity of 19th- and 20th-century music. 

Kalmar and Sidorova pair up for a powerful performance of Piazzolla's Aconcagua in Atlanta.

A world premiere of an opera by Philip Glass is bound to draw attention... especially when many of its performers are members of a circus troupe. 

The paintings of Victor Vasarely are brought to life in dance at the Bartók Spring International Arts Weeks festival.   

After Bach and Brett Dean, the LPO gave Stravinsky’s Pulcinella a ride in their musical Rolls-Royce... and it gleamed.

An inventive reimagining of this well-worn tale 

Omer Meir Wellber conducts his first Bridgewater Hall concert as Chief Conductor of the BBC Philharmonic.

The Contempuls festival celebrated its tenth birthday with a bold mix of international flavors, Czech premieres and energizing experimental sounds.

Brett Dean's operatic reworking of Shakespeare's Hamlet receives its German premiere in a powerful new staging by the work's librettist Matthew Jocelyn.

In a world for which Neharo't Neharo't had suddenly become painfully relevant once again: the man lamenting his love in the gentle ending could have been lamenting the Kurds.

Intriguing and theatrical Kagel, followed by rich Beethoven from the Quatuor Renaud Capuçon in the opulent Opéra de Monte-Carlo.

Liverpool’s Philharmonic Hall was plunged into luscious sunshine with music from across the Tropics. The first half was filled with the sounds of Latin America before a nautical Arabian tour.

In Zurich’s new and provisional Tonhalle Maag, Omer Meir Wellber recently conducted a triple bill of works from the Baroque, Romantic and modern periods.

A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work

Conductor Han-Na Chang and the Oslo Philharmonic impressed with a fiercely fast overture to Ruslan and Lyudmila and an exciting new piece by Norwegian composer Jan Erik Mikalsen.

The BBC Symphony Orchestra under Sakari Oramo glistened and shimmered in Dutilleux and presented a 'no holds barred' Beethoven's Fifth while Håkan Hardenberger provided zing and reflection in HK Gruber.

HK Gruber's wit shines through this concert centred on Brecht and Weill's bitingly sarcastic songs from The Threepenny Opera; Håkan Hardenberger thrills with magical playing of trumpet and flugelhorn.

The beginning of Prom 23 was utterly surreal. I found myself confronted by sounds I had never heard before in a concert hall.

For those more familiar with grim-faced matronly Salvation Army accordion players, voluptuous virtuoso Ksenija Sidorova certainly breaks the mould.

To see three passionate ambassadors of their instruments performing together made a sensationally satisfying evening at St Georges, Bristol.

Flórez's recital showed exactly why singers should steer clear of technological assistance. 

The Tallinn National Symphony Orchestra Easter concert represents new music patronage on a grand scale. Six up-and-coming Estonian composers are commissioned write a substantial work for orchestra, and an entire concert is given over to their first performances.

The youthful duo, British Violinist Thomas Gould and Latvian accordionist Ksenija Sidorova took to the stage at the intimate St George’s Concert Hall for a more relaxed ‘Late Night Classical Café’.

Paris and accordions have a very unique relationship, almost “Marmite” in nature: tourists love it, locals hate it.

  Last-minute Beamish replacement is a treat alongside accomplished Gurney and Walton.

In Amsterdam's Bethaniënklooster, the Leo Smit Foundation and Serbian ensemble Barka paid homage to new music pioneer Jan Wolff, who died in 2012.

“It’s a contra-alto clarinet,” explained Ben Goldberg to an audience puzzled at the first sight of this long, coiled silver instrument. “But it can be used to clean your sink in an emergency.

Born in Argentina to Eastern European Jewish parents, composer Osvaldo Golijov certainly brings many cultural influences to the musical table, influences that shone through in the three works of his performed at Zankel Hall on Monday night.

Over the 60 years of its existence, the Vienna Kammeroper has commissioned chamber operas by Maxwell Davies, Henze and Glass and made figures including Reimann and Birtwistle better known to the Viennese.

Tonight’s concert opened with the warm string tones and broad, sweeping phrases of Janáček’s The Cunning Little Vixen Suite; the UK première of a little-known arrangement by František Jílek.

If there was any sense that the Marin Alsop was at the end of a particularly harried week for her, she displayed no signs of it at her “Casual Friday” concert with the Los Angeles Philharmonic on Friday 2 November. The Baltimore-based conductor found herself at the center of the headlines last week – albeit for reasons she probably would have preferred to have passed up on.

I have never seen so many empty seats in the Royal Albert Hall. Empty, because it took all of three minutes for the audience to descend en masse to the standing arena, transforming it into a dance floor. Children and grandmothers alike got up, unable to resist the heady pull of the music. When the dance floor was full, the audience simply danced in the stalls.

On Sunday afternoon, Glenn Gould Studio became host to a professional photo-shoot as well as the Amici Ensemble’s feature concert, “Fashionista: Fashion as Art.” The unique theme featured elegant gowns by Rosemarie Umetsu, demonstrating what one can draw and create from such elaborate musical selections. First on the programme was Galina Ustvolskaya’s Trio for Violin, Clarinet, and Piano.

Love may be a familiar feeling, but the passion Aurora Orchestra unleashed at LSO St Luke’s was enough to leave audiences wild with desire. Exploring the darkest undertones of love—anguish, jealousy, remorse and regret—Friday night’s programme, Jealous Guy, was woven together by tango music interspersed with tragic love stories from across musical history.

Fruit d’une série de trois résidences locales et de la collaboration entre les compagnies À bout de souffle et Avant l’incendie, cette relecture de L'Orfeo de Monteverdi est indéniablement vivante. 

Dans le cadre imprévu du Palais des Congrès de Souillac, Félicien Brut, Lucienne Renaudin Vary et Thibaut Garcia ont enchanté le public, avant le concert plein de recueillement de Tenebrae avec La Sportelle.

Au festival pensé par Nicolas Dufetel et Alexandre Kantorow, les concerts se suivent, ne se ressemblent pas mais procurent les mêmes émotions fortes.

Vingt-cinq compositrices, vingt-six compositions en un concert, du piano seul au lied et à diverses formations de chambre, c'est une belle idée mais c'est aussi une source de frustration...

Avec notamment deux créations mondiales de Tobias Feierabend et José Manuel López-López, le concert d'ouverture du Festival Ensemble(s) a tenu ses promesses.

De retour sur scène après plusieurs mois de silence forcé, l'orchestre dirigé par François-Xavier Roth a célébré ce retour à la vie en compagnie de Vincent Lhermet, Renaud Capuçon et Bertrand Chamayou.

Au Voces8 Centre, la célèbre soprano entraîne son auditoire dans un voyage de toute beauté, allant de la poésie mystique médiévale aux chants de l’holocauste.

Die Streicher des LCO spielten engagiert und hatten sichtlich Spaß am Auf und Ab Graham Fitkins Komposition.

En conclusion de la 10e édition du festival toulonnais, les deux musiciens ont livré un récital remarquable par son lyrisme et son énergie.

El acordeonista Iñaki Alberdi y el contratenor Carlos Mena proponen una interesante revisitación del repertorio renacentista y barroco.

Vivancos' Musik berührt uns ebenso direkt wie die Totenmesse von de Victoria seine Zuhörer vor 400 Jahren.