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As part of the Concertgebouw's ambitious Mahler Festival, Christiane Karg, Anna Lucia Richter and the Netherlands Radio Choir join the Budapest Festival Orchestra for the Resurrection Symphony. 

Daniel Harding made a memorable debut with the Czech Philharmonic, aided by a superb chorus and cast of singers.

The constituent parts made up a contrasting and stimulating whole: works by Lili Boulanger, Messiaen and Brahms, united by biblical inspiration. Edward Gardner marshalled the collective London Philharmonic forces.

Luisi programmes Berg, the dark harmonist, and Schubert, the blithe melodist, as a musical yin and yang in Cologne. 

Soloists and choir, headed by a spellbinding Christian Gerhaher, brought real lustre to Schumann’s treatment of Goethe’s magnum opus.

Christiane Karg is the resplendent soprano in a wonderful performance of Mahler's Fourth at the Konzerthaus.

Semyon Bychkov and the Czech Philharmonic's performance of Mahler's “Resurrection” Symphony properly revealed the tensions between intensity and stillness, resistance and fragility. 

Mahler's Resurrection Symphony provides both a thrilling opener and apt metaphor for the orchestra's new era under Chief Conductor Semyon Bychkov.

A flamboyant production and a wonderful cast of singers seals a big success for this gem of the early Baroque.

Juan Diego Flórez perhaps is the only one currently able to revive the virtuosity of the role created in 1762

With this performance of Mahler's 'Resurrection' symphony, Bychkov has shown himself to be one of the composer's most interesting interpreters

Under elegant leadership of conductor Harry Bicket, the Met's revival of the "Marriage of Figaro" succeeds with a strong ensemble of cast.

This wasn’t just any concert. The Zurich Tonhalle’s new season was opening in a brand new hall in the trendy Züri-West quarter of the city.

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

A probing, exultant and musically tireless performance from The English COncert.

Setting the opera in the backyard of a suburban house feels refreshingly honest: the ridiculous and simplistic tale of the evil witch, the prince and the maiden is rightfully returned to the arena of children's games, and adults look on indulgently, with a wink.

Jaap van Zweden returned to the CSO with a probing account of Brahms’ German Requiem, along with shorter but no less moving works of Mozart and Wagner.

A fascinating first-half juxtaposition of Enescu and Bartók is followed by a strangely unconvincing take on Mozart's “Prague” Symphony.

The London Symphony Orchestra under their Principal Guest Conductor Daniel Harding perform Mahler's Fourth and a world première as well as accompanying Nikolaj Znaider in Sibelius' Violin Concerto.

The singing is the main attraction in Dutch National Opera’s Le nozze di Figaro, but this new production is also entertaining and looks good enough to eat.

Mehta's refusal to treat these as episodic statements gave the playing its polish. The music unravelled in a spun-out yarn.

Daniel Harding's love for Schumann's genre-defying work brought some strong playing from the LSO and deeply moving singing from his soloists and chorus.

What makes this Figaro memorable and admirable is the way it manages both to be sprightly in its tone and details and also luxuriant in places that another director might have blown through.

Emmanuelle Haïm leads Christiane Karg and Sonia Prina in Handel's sacred oratorio La resurrezione at the Berlin Philharmonic. 

Béatrice et Bénédict is Hector Berlioz’s last work; he wrote it between 1860 and 1862 for the theatre that patron Edouard Bénazet had built in Baden-Baden, then Germany’s most chic health resort.